THE  EDUCATION 


OF  THE 


MUSIC  TEACHER 


Jk  THOMAS  TAPPER  M 


GIFT  OF      . 


The  Education 

of  the 

Music  Teacher 


BY 

THOMAS  TAPPER,  Litt.  D. 

Lecturer  in  the  Institute  of  Musical  Art  of  the 
City  of  New  York.  Author  of  The  Music  Life, 
Efficiency,  First  Studies  in  Music  Biography,  Etc. 


W«»^ 


PHILADELPHIA 

THEODORE  PRESSER  CO. 

1915 


nri 


Copyright,  1914,  by  Thbo.  Prbssbr  Co. 

British  Copyright  Secured.  I 


:x^ 


To 
Dr.  PERCY  GOETSCHIUS 


PREFACE 


The  education  of  the  music  teacher,  Uke  that 
of  any  other  worker  in  art,  hterature,  or  science, 
is    never    completed.     No    education    may    be 
bounded  by  time,  or  Hmited  to  a  period  of  study. 
It  is  a  process  that  continues  to   move  forward 
through    dailv    experience.     This    experience    is 
the  precious  metal  that  must  be   worked  over 
by  the  intellectual  power  and  coined  into  con- 
sciousness.    It    may    not    remain    m^erely    intel- 
lectual,  but   it  must  precipitate   its  worth  mto 
the  subjectivity  as  impulse  to  all  further  action. 
Music  teaching  as  community  service  in  the 
highest    sense,    is   frequently    spoken   of   in    the 
chapters  of  this  book  for  the  evident  reason  that, 
in  such  application,  it  exerts  its  best  and  most 
logical   influence.     It   results   in   transforming   a 
life  of  objectless,  toilsome  teaching  into  a  posi- 
tively directed  activity  of  more  or  less  extensive 
influence.     The    humblest    teacher    may    direct 
his    work    upon    a    wider    territory    through    his 
pupils   than    rests    with    them   alone.     Each    of 
them  is  a  center  of  social  life,  and  not  merely 
the  individual  pupil  alone  but  the  environment 


6  PREFACE 

into  which  he  moves  should  be  the  objective 
point  for  art  and  educational  uplift. 

The  author  begs  to  acknowledge  his  obliga- 
tion to  the  following  publications  for  permission 
to  use  wholly,  or  in  part,  articles  contributed 
by  him  to  their  pages : 

The  Outlook  (New  York),  The  Etude  (Philadel- 
phia), and  the  Evening  Journal  (New  York). 

THOMAS    TAPPER. 
New  York,  January  15,  1914. 


CONTENTS 


CH.\PTER  P-^GE 

I  Introduction 9 

II  The  Fundamental  Requisites 14 

III  Music  Teaching  as  Service 22 

IV  Music  Teaching  as  Profession 29 

V  Equipment  and  Success 37 

VI  Pedagogy 46 

VII  Musical  Theory 57 

VIII  The  Pupil 65 

IX  Music  History  and  Biography 72 

X  Music  in  the  Home 80 

XI  Mechanical  Musical  Instruments 89 

XII  Community  Music 97 

XIII  A    Type    of    Community    Music   in   the 

United  States 103 

XIV  Public  School  Music 113 

XV  Music  in  Social  Settlement  Work 122 

XVI  Efficiency 135 

XVII  Self-expression  in  Music 143 

XVIII  Musical  Composition 152 

XIX  The  Basis  of  Musical  Memory 160 

XX  Teaching  Material 168 

XXI  :Method  and  System 173 

XXII  The  Music  Cll^ 178 

XXIII  The  Measl-re  of  Success 184 

XXIV  Recapitulation 193 

XXV  ExAiONATlONS   IN    jVIuSIC 202 

7 


THE    EDUCATION    OF   THE    MUSIC 
TEACHER 


CHAPTER  I 


INTRODUCTION 


It  has  been  well  said  that  many  things  reach 
the  intellect  that  never  reach  the  consciousness.' 
Thus,  one  may  read  the  injunction  Love  thy 
neighbor  as  thyself;  may  give  intellectual  as- 
sent to  it  as  a  wise  and  just  line  of  conduct  to 
pursue,  and  yet  may  never  so  thoroughly  adopt 
it  as  to  resolve  it  into  a  spontaneous  impulse  to 
action. 

Now  the  whole  purpose  of  life  clearly  shows 
itself  to  be  the  up-building  of  the  consciousness; 
the  perception  of  facts  by  the  intellect  and 
their  conscious  acceptance  by  the  inner  self  as 
working  principles.  Thus  the  individual  is 
strengthened  and  his  field  of  vision  is  enlarged. 
His  purpose  becomes  specifically  directed,  and 
his  work  is  more  perfectly  accomplished. 

The   object  of   this   book  is   to  bring  certain 
essential   facts    particularly  before  the   teacher; 
1  Sigurd  Ibsen,  Human  Quintessence. 
9 


10    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

but,  as  well,  before  the  student,  in  order  that  they 
may  be  given  the  requisite  intellectual  examina- 
tion and  test  before  they  are  accepted  as  basic 
principles  on  which  to  construct  a  working  plan. 

Aside  from  the  excellent  institutions  in  which 
music  is  taught  with  full  appreciation  of  its 
worth  as  art  and  educational  expression,  and  like- 
wise excepting  the  work  of  thoroughly  pre- 
pared private  teachers,  there  is  much  disor- 
ganized, unsystematized,  and  often  incompetent 
teaching  being  carried  on.  Perhaps  in  no  pro- 
fession are  there  as  many  instructors  who  work 
so  independently  of  one  another.  While  national 
and  state  music  teachers'  associations  have  long 
advocated  more  or  less  uniform  courses  of  study, 
examinations  for  the  certification  of  teachers 
and  the  like,  the  fact  remains  that  these  or- 
ganizations do  not  fully  succeed  in  reaching 
those  most  in  need  of  specific  assistance.  In 
every  state  there  are  scores  of  teachers  who 
cannot  regularly,  or  even  occasionally,  attend 
such  association  meetings.  Hence,  they  do  not 
as  a  body  come  into  vital  contact  with  the  many 
admirable  suggestions  that  are  often  most  earn- 
estly worked  out,  and  no  less  earnestly  ad- 
vocated. 

We  must  conclude  then  that  taken  by  and 
large,  the  music  teaching  profession  in  the 
United  States  is  one  of  diversely  trained  in- 
structors, each  one  of  whom,  so  to  speak,  sets  his 


INTRODUCTION  II 

own  individual  pace,  and  establishes  his  own 
standards.  But  anyone  who  has  attended  music 
teachers'  meetings,  who  has  met  the  indi\'idual 
teacher  in  all  parts  of  the  countr}-,  cannot  but 
be  convinced  that  the  vast  majority  of  them  are 
earnest  and  eager  to  do  better  work.  Many 
labor  in  what  seem  to  be  the  most  unprofitable 
fields;  and  yet,  so  laboring,  they  accomplish,  in 
many  cases,  results  of  momentous  importance. 

One  of  tlie  most  persistently  made  comments 
of  great  virtuoso  artists  is  of  the  constant  in- 
crease (territorially)  of  the  musical  audience. 
Mr.  Fritz  Kreisler  recently  stated  that  his 
later  tours  have  embraced  many  communities 
that  formerly  had  no  apparent  interest  in  music. 
The  Kneisel  Quartet,  in  its  career  of  over  a 
quarter  of  a  century,  has  constantly  length- 
ened its  line  of  travel;  it  has,  in  fact,  in  recent 
years,  performed  in  towns  that  were  not  on  the 
map  twenty-five  years  ago.  There  is  an  earnest 
and  persistent  call  for  artists,  organizations,  lec- 
turers, and  instructors  from  ever>^  quarter  of  the 
United  States;  all  of  which  testifies  to  the  in- 
herent musical  desire  and  capacity  of  the  Ameri- 
can people. 

This  great  awakening  of  a  Sleeping  Beauty 
comes  from  the  magic  touch  of  a  Prince  (or, 
more  often,  of  a  Princess) ;  and  that  royal  one  is 
the  music  teacher  who  by  quiet,  persistent  work, 
and  by  the  application  of  the  best  efiFort,  has 


12    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

animated  the  latent  musical  capacity  of  the  com- 
munity in  which  he  labors. 

Now  the  intensification  of  this  spirit  of  musical 
progress  in  America  lies  to-day,  not  less,  but  still 
more  than  ever,  at  the  hand  of  the  teacher.  By 
better  preparation,  by  adopting  a  standard  of 
attainment  for  himself  and  for  his  pupils,  he  will 
prove  for  decades  to  come  the  one  essential  bit 
of  leaven  in  the  social  measure.  In  order  that 
the  teacher  may,  with  some  degree  of  adequacy 
to  the  ever-expanding  task,  carry  on  this  work, 
his  intellectual  training  must  be  thorough;  it 
must  be  pursued  persistently  (that  is,  the  teacher 
must  always  be  a  student);  the  ideal  of  accom- 
plishment for  the  pupil  must  be  definite  and 
exacting;  and,  finally,  the  basic  principle  of  all 
individual  effort  must  be  Service.  This  word 
Service  is  the  one  resonant  note  in  all  modern 
activity.  As  a  working  principle,  the  teacher 
must  direct  it  not  only  upon  the  little  flock  of 
pupils  that  constitute  the  class,  but  upon  the 
community  itself,  at  least  in  some  measure,  to 
the  end  that  its  latent  musical  capacity  may  be 
led  to  give  itself  expression. 

Upon  the  work  of  the  teacher,  of  the  wander- 
ing artist  who  takes  his  art  into  great  and  Httle 
communities,  of  the  encouraging  spread  of  the 
Festival  idea,  and  last,  but  not  least,  of  the  in- 
crease of  popular  interest  in  music  through 
certain  forms  of  instruments  of  mechanical  re- 


INTRODUCTION  13 

production— upon  all  of  these  there  will  follow 
as  consequence,  an  enormous  increase  in  our 
national  musical  expression.  But  the  task  and 
responsibility  for  instruction,  inspiration,  and 
development  will  always  rest  with  the  teacher. 

In   view   of   this   fact,   it  is  essential   for   the 
teacher  to  consider  seriously  certain  phases  of 
educational  work  and,  as  well,  certain  evidences 
of  our  national  activity  in  music,  as  suggestions 
for  the  establishment  of  what  may   always  be 
necessary  in  music  teaching,  an  indindual  stand- 
ard; for  the  unattached,  non-institutional  music 
teacher  will  probably  be  for  years  to  come  the 
most  numerous  representatives  of  the  profession. 
The   accomplishment   of   the   purpose   that   is 
clearly  before   the   teacher  is   no   mere   intellec- 
tual  feat.     It   will   come   gradually  as   the  con- 
sciousness is  enlarged;  as  the   teacher  perceives 
more  and  more  clearly  that  he  is  not  conducting 
a  small,  private  business,  but  is  performing  a  part 
in   the   great   national  movement  that  will  ulti- 
mately express  itself  in  music  w4th  no  less  force 
and  practical  results  than  it  now  manifests  in 
invention,  construction,  and  commercial  life. 


CHAPTER  II 

THE  FUNDAMENTAL  REQUISITES 

Of  the  scores  of  thousands  who  take  up  the 
study  of  music,  comparatively  few  do  so  with 
the  distinct  intention  of  becoming  teachers. 
One  of  many  causes  may  lead  to  the  decision  to 
do  this  later  on,  but  in  only  too  few  instances  are 
the  fundamental  requirements  for  the  assumed 
position  carefully  considered  and  developed  from 
the  beginning. 

That  one  may  be  gifted  musically  is  no  earnest 
of  capacity,  much  less  of  genius,  for  imparting 
knowledge.  Nor  is  the  mere  selection  of  music 
teaching,  as  a  means  for  getting  a  Hving,  a  sufi&- 
cient  recommendation  that  one  has  fulfilled  all 
preparatory  demands  necessary  to  become  an 
essential  and  helpful  member  of  this  profession. 

Two  conditions  foster  inefficient  music  instruc- 
tion: one  is  the  entire  absence  of  any  require- 
ment stipulated  either  within  the  profession  itself, 
or  demanded  by  the  State  Boards  of  Education. 
The  other  is  consequent  upon  the  first — a  like 
failure  to  perceive  the  full  round  of  educational 
activity  involved  in  music,  and  adequately  to 
supply  it. 

14 


THE  FUNDAMENTAL  REQUISITES  15 

These  conditions  are,  however,  giving  way  to 
a  more  enHghtened  view  of  music,  not  only  as 
individual  training  but  as  a  distinct  and  valuable 
community  asset.  Thus  music  has  come  into 
the  curriculum  of  the  Public  Schools,  and  has 
assumed  a  place  equal  in  importance  with  other 
subjects.  This  official  approval  of  music  has 
wrought  a  remarkable  effect  in  the  art  of  Public 
School  music  teaching.  The  Supervisor,  or  Di- 
rector of  Music,  must  nowadays  be  a  well-pre- 
pared teacher;  must  be  musically  competent; 
must  perceive  and  maintain  music  instruction 
correlatively  with  other  subjects;  must  develop 
the  child-voice  without  injury  to  its  mechanism; 
and  must  make  evident  to  the  community  that 
the  singing  of  school  children  is  a  beautiful  art  that 
may  be  so  taught  as  to  produce  a  beautiful  re- 
sult, valuable  to  the  child  as  long  as  it  lives,  and 
a  pleasure  to  the  community  of  which  it  is  a  part. 

The  essential  point  in  the  illustration  is  this: 
Having  given  music  an  important  place  in  public 
instruction,  the  result  is  that  teachers  must 
measure  up  to  this  importance.  Some  of  the  most 
progressive  music  teaching  that  is  being  carried 
on  to-day,  is  that  which  constitutes  the  curricu- 
lum required  of  music  supervisors.  While  the 
details  of  requirement  in  this  profession  will  be 
discussed  later,  it  is  valuable  to  bring  the  matter 
to  the  attention  of  the  special  teacher  of  music 
as  a  subject  worthy  of  investigation. 


i6    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

In  the  absence  of  a  demand  that  shall  hold  the 
special  teacher  up  to  a  high  level  of  attainment, 
what  can  be  done  to  prevent  piano,  voice,  organ, 
and  violin  teaching  from  maintaining  a  lower 
standard  than  it  should  throughout  the  pro- 
fession? 

To  answer  this  question  brings  before  us  the 
consideration  of  what  constitute  the  funda- 
mental requirements  of  the  music  teacher. 
We  will  begin  with  the  statement  that  the  would- 
be  teacher  must  be  musical,  an  obvious,  but  not 
too  seriously  considered  requirement.  What  does 
to  be  "musical"  mean?  It  is  difficult  to  answer 
this  query  in  a  few  words,  but,  briefly  stated,  let 
us  put  it  thus:  An  inherent  ability  in  music; 
sensitiveness  to  tone;  adaptabiUty  to  making 
music,  without  too  evident  effort;  to  some  ex- 
tent, the  thought  process  in  tone;  and  again, 
to  some  extent,  the  faculty  of  memory  that 
retains  music.  This  is,  of  course,  an  incom- 
plete definition.  It  intends,  however,  to  point 
out  that  success  in  music  must  be  based  pri- 
marily on  musical  gift,  inborn  and  determined, 
and  this  gift  must  be  thoroughly  developed  by 
adequate  educational  training. 

This  faculty,  if  it  may  be  so  called,  must  be 
severely  trained.  Even  if  the  future  teacher  be- 
gins the  study  of  music  itself  no  farther  back  than 
the  beginning  of  the  eighteenth  century,  there  is 
a  mass  of  material  to  be  examined,  a  development 


THE  FUNDAMENTAL  REQUISITES  17 

to  be  traced,  that  are  fundamental  even  to  an 
ordinary  comprehension  of  the  works  of  various 
schools. 

When  the  student  has  become  somewhat  the 
master  of  the  music  to  be  taught,  the  whole  art 
of  teaching  suddenly  assumes  an  important  place 
and  purpose.  It,  too,  is  a  subject  in  which  one 
must  be  thoroughly  prepared.  To  turn  the 
pages  of  an  elementary  Psychology  and  Peda- 
gogy, one  comes  upon  a  number  of  subjects  that 
require  study,  obser\'ation,  and  practice,  just 
as  music  itself  does.  We  meet  with  such  words  as 
Attention,  Memory,  Will,  Conception,  Induc- 
tion, Deduction,  and  so  on— all  of  which  may  be 
mysterious  to  the  young  teacher,  but  should  not 
long  remain  so. 

These  are  not  mere  words  that  may  be  enter- 
tained or  dismissed.  They  are  the  names  of 
streets  and  broad  avenues,  along  which  the 
teacher  must  travel  to  reach  the  intelligence  of 
the  pupil.  Without  such  means  he  will,  in  fact, 
never  do  the  best  work.  We  find  on  investigat- 
ing the  work  of  the  best  teachers  that  they  are 
not  only  inherently  musical,  but  that  they  are 
by  nature,  able  psychologists,  and  no  less  able 
pedagogists.  They  have  learned  the  practical 
aspects  and  application  of  these  two  subjects, 
not  alone  from  books,  but  in  the  very  laboratory 
of  the  studio.  We  have  yet  to  have  a  thoroughly 
well-written  literature  on  these  subjects  as  ap- 
2 


l8    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

plied  to  music;  and  we  shall  possess  it  only  when 
the  teacher  with  actual  genius  for  the  art  of  im- 
parting musical  instruction  writes  it  from  daily- 
experience. 

Thus  far,  we  have  required  of  the  teacher  the 
gift  of  music,  a  thorough  knowledge  of  music, 
and  at  least,  the  elementary  principles  of  psychol- 
ogy and  pedagogy.  What  beyond  this?  Educa- 
tion in  general.  And  by  education,  we  mean  not 
merely  the  informing  art  of  the  schools  but  a 
degree  of  mental  livingness  that  is  an  earnest  of 
cultural  attainment.  The  uncultured  music 
teacher  is  a  paradox.  Hence,  education  that 
makes  for  culture  is  basic. 

In  presenting  even  thus  simply  the  funda- 
mental requirements  of  the  music  teacher,  we 
have  estabhshed  a  plane  for  attainment  that  is 
manifestly  higher  than  that  on  which  most 
teachers  pitch  their  tent.  In  order  that  the 
profession  of  music  teaching  may  reach  a  worthy 
level — even  of  minimum  attainment — requires 
only  this:  that  each  one  of  us  make  every  effort 
to  become  individually  well  prepared;  that  no 
less  a  standard  inspire  all  the  teaching  we  do; 
and,  lastly,  that  we  find  our  greatest  interest  in 
life  in  our  profession  and  not  in  something  else. 

Just  so  long  as  music  is  used  as  a  pin-money 
means  of  escape  from  a  limited  income,  so  long 
will  it  be  taught  without  wholly  right  purpose, 
method,  or  cultural  effect.      If  it  appeal  to  us 


THE  FUNDAMENTAL  REQUISITES  19 

as  a  hard  day's  work,  for  which  we  are  thankful 
when  it  is  done,  we  have  thrown  our  effort 
with  the  wrong  cause.  But  if  it  be  the  first 
and  absorbing  interest  in  Ufe,  if  it  appeal  to  the 
best  effort  of  which  we  are  capable,  if  the  joy  of 
accomplishment  in  its  service  give  us  joy  in 
return,  we  may  know  that  we  have  chosen  our 
profession  wisely. 

No  teacher  can  impart  more  than  the  char- 
acter can  inspire.  No  teacher,  in  fact,  ever  im- 
parts anything  else  than  the  dominant  character. 
And  perhaps  no  other  word  than  character  so  well 
sums  up  the  fundamental  requisites.  It  is  the 
glass,  clear  or  otherwise,  in  which  all  else  is 
reflected. 

Conditions  and  circumstances  have  thrown 
many  into  the  profession  of  music  teaching  who 
have  had  insufficient  opportunity  to  develop 
themselves  as  they  should  for  the  demands  of 
their  work.  We  find  them  everywhere,  in  middle 
life  and  beyond.  What  can  they  do,  if  youth  be 
passed  and  student  days  are  gone  by?  Shall  they 
not  get  on  the  best  they  can  with  the  little  they 
have  ? 

Schliemann,  who  conducted  excavations  in 
Greece,  who  unearthed  Troy,  was  fifty-two  years 
old  before  he  knew  a  word  of  Greek.  He  made 
his  reputation  as  a  scholar  and  a  discoverer  after 
that  age.  Hence,  so  long  as  one  is  capable  of 
mental  alertness,  of  activity,  of  inquiry,  education 


20    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

may  be  carried  on  at  any  period  in  life.  It  is 
only  those  who  are  incapable  of  getting  out  of 
the  little  ring  of  daily  affairs,  who  are  prisoners 
in  the  jail  of  trifles  and  common  things  that 
cannot  begin  at  any  time  in  life,  not  only  to 
make  good  but  to  make  better,  and  yet 
better. 

Many  a  one  in  middle  life  sees  the  truth  clearly 
enough  to  say:  If  I  were  young  again  I  would  do 
thus  and  so.  The  obvious  thing  to  do  is  to  put 
it  this  way:  I  am  young  again  because  I  see  this 
truth  and  because  I  am  now  fully  determined  to 
do  what  it  demands.  That  attitude  cracks  many 
a  hard  nut,  resolves  many  a  difficult  problem, 
renews  youth  and  rekindles  ambition. 

Any  person  in  any  profession  who  remains 
inefficient  does  so  by  personal  choice.  The  fine 
art  of  fine  living  is  to  live  for  service.  We  live 
for  service  only  when  we  are  intent  on  securing 
by  our  daily  effort,  Hfe  in  greater  and  yet  greater 
abundance. 

The  teacher  who  is  musical,  educated,  cultured; 
who  is  tactful,  sympathetic,  encouraging;  whose 
natural  and  attained  equipment  makes  for  dis- 
tinct character,  is  a  benefit  to  any  community. 
Such  a  teacher  is  indispensable  in  the  musical 
scheme  of  things.  Many  of  us  who  beUeve  in 
eternal  life  would  be  Hterally  panic-stricken  if 
we  were  convinced  that  everything  we  do  every 
day  is  destined  to  become  a  part  of  our  eternal 


THE  FUNDAMENTAL  REQUISITES  21 

record.     And  yet,  in  the  very  nature  of  eternity, 
it  must  be  so. 

It  is  because  of  this  truth  that  we  see  the  sum- 
mation of  the  fundamental  requisites  of  our  art 
in  the  word  Character. 


CHAPTER  III 

MUSIC  TEACHING  AS  SERVICE 

No  human  being  can  become  adjusted  to  en- 
vironment without  some  educational  training. 
It  may  be  as  Hmited  as  that  which  underHes  the 
simple  activity  of  the  primitive  savage  or  as 
complex  as  that  which  is  demanded  by  the  high- 
est status  of  civilization.  In  any  case,  education 
aims  to  establish  the  individual  as  a  new  center  of 
activity  that  is  capable  of  working  upon  environ- 
ment with  benefit  to  himself  and  to  all  others. 

The  average  education  of  the  schools,  that  is, 
without  specialization,  is  directly  concerned  with 
environmental  needs.  Special  education  such  as 
that  in  music,  must  be  carried  on  in  conjunction 
with  the  school  system,  and  subsequently  while 
purveying  to  a  need  it  must  also  concern  itself, 
at  least  to  an  extent,  in  creating  that  need. 

The  music  teacher,  then,  is  a  member  of 
society  who  assumes  to  be  capable  of  providing 
(through  natural  gifts  that  have  been  properly 
led  out  by  education)  certain  social  demands  that 
are  a  part  of  our  national  expression  of  life.  While 
two  factors  are  apparently  involved,  there  are 
really  present,  three : 

22 


MUSIC  TEACHING  AS  SERVICE  23 

A.  The  natural  gift. 

B.  The  special  training  that  develops  that 

gift. 

C.  The  general  education. 

In  their  practical  working  out,  C  may  pre- 
cede A  and  B;  or,  all  three  may  evolve  simul- 
taneously. But,  in  any  case,  we  can  at  once 
arrive  at  the  basic  qualifications  of  the  music 
teacher,  as  follows: 

The  music  teacher  is  one  who,  besides  possess- 
ing an  adequate  general  education,  is  naturally 
gifted  in  music,  and  in  whom  that  natural  gift 
has  been  developed  for  efficient  professional  or 
social  service,  or  for  both. 

'  As  the  entire  purpose  of  this  text  is  to  define 
these  qualifications,  we  need  not  now  specify 
the  necessary  items  that  constitute  them.  The 
essential  point  here  is  this:  WTiat  Service  can 
the  music  teacher  render  to  the  community  of 
which  he  i.  a  member?  In  this  Service,  two 
factors  are  concerned: 

A.  He  must  be  able  to  support  himself. 

B.  He  must,  while  supporting  himself,  bene- 

fit the  community  by  what  he  does. 

The  first  (A)  involves  earning  money;  the  sec- 
ond (B)  impUes  earning  money  by  such  a  method 
and  manner  that  the  activity  results  in  a  distinct 
improvement  to  the  well-being  of  the  society  of 
which  the  teacher  is  a  part. 

These  benefits,  to  society  and  to  the  teacher 


24    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

himself,  come  about  when  his  interest  in  life  is 
not  entirely  self-centered.  It  must  not  be  his 
purpose  to  prey  upon  society  for  a  living,  but  to 
hold  society  in  mind  as  a  complex  that  may  be 
inspired  by  his  influence  upon  such  of  its  members 
as  he  can  reach.  From  this  point  of  view,  the 
very  familiar  picture  of  the  little  pupil  coming  to 
take  a  lesson  immediately  assumes  a  new  aspect, 
and  is  pregnant  with  far-reaching  consequences. 
As  we  shall  try  to  point  out  in  Chapter  VIII, 
there  is  far  more  involved  in  the  training  of  the 
humblest  pupil  than  an  opportunity  to  add  so 
much  income  per  week  to  the  teacher's  credit. 

Of  all  people  in  the  world,  the  teacher  is  most 
decidedly  a  dealer  in  futures.  Every  lesson  is 
a  stone  wrought  for  the  building  of  character 
and  self-expression.  To  the  pupil,  the  teacher 
is  the  center  of  a  new  world;  he  is  a  totally  new 
environment;  he  provides  an  experience  to  the 
child  that  is  unique  in  that  it  is  not  duplicated 
in  any  other  relationship. 

Now,  the  teacher  may  accept  the  child  on  these 
terms,  or  he  may  disregard  everything  save  the 
actual  business  involved  in  giving  the  lesson. 
In  the  former  event,  he  is  a  vital  factor  in  the 
social  organization;  in  the  latter,  he  is,  to  say  the 
least,  less  vital  than  he  could  be.  Which  of  the 
two  positions  he  shall  assume  must  be  left  to 
his  own  choice — and  so,  too,  the  results  that 
naturally  follow. 


MUSIC  TEACHING  AS  SERVICE  25 

The  word  vital  brings  the  whole  matter  of 
individual  work  and  worth  prominently  before 
us.  Impelling,  incisive,  imposing  vitality  may 
be  itself  a  gift.  Two  people  of  substantially 
equal  ability  in  a  profession,  will  evince  this 
quality  in  widely  varying  degrees.  The  one  may 
seem  never  fully  to  approach  the  heart  of  his 
work;  the  other  may  carry  it  with  convincing 
positiveness  out  among  the  people.  In  either 
case,  the  question  is:  To  what  extent  does  he 
enter  the  heart  and  mind  of  another  as  a  force 
for  developing  a  greater  degree  of  Imngness?  Or, 
reverting  to  a  thought  we  have  already  expressed : 
To  what  extent  is  the  teacher  able  to  transform 
the  necessary  intellectual  processes  in  music  into 
a  consciousness  of  musical  experience  and  ex- 
pression ? 

If  this  presentation  of  the  application  of  in- 
struction be  new  to  the  young  teacher,  he  should 
patiently  study  it  out  until  he  grasps  the  funda- 
mental fact  that  the  up-building  of  society 
through  the  vitality  of  an  art,  applied  to  the 
individual  child,  is  the  best  Service  one  can  render. 
And,  further,  the  moment  he  begins  thus  to  de- 
vote his  art,  in  that  moment  he  has  become  an 
indispensable  factor  in  the  life  of  the  community 
where  he  practises  it.  '  To  teach  day  after  day, 
and  year  after  year  uses  up  life  itself.  'The  prime 
question  then,  at  the  beginning  is,  to  put  it 
bluntly:     How  can  we  "use  up"  life — that  is, 


26    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

how  can  we  live  year  after  year  to  the  best  ad- 
vantage of  all  concerned,  to  ourselves  and  to 
those  whom  we  serve? 

The  life  of  Service  through  music  is  a  life  of 
worthy  object.  Such  a  life  is  an  ever-increasing 
incentive  to  livingness.  An  objectless  profes- 
sional life  is  a  direct  path  to  monotony.  The 
moment  monotony  enters  the  consciousness, 
when  the  day's  lessons  seem  like  the  turning  of 
the  wheel  by  the  caged  squirrel,  the  teacher  is  no 
longer  a  valuable  or  useful  member  of  the  pro- 
fession. But  no  teacher  who  is  truly  interested 
in  the  marvel  of  a  developing  child-mind,  ever 
grows  old.  He  is  as  young  as  his  youngest  pupil; 
he  can  be  supremely  happy  in  the  very  youth 
of  the  pupil,  and  he  can,  best  of  all,  be  himself 
inspired  by  the  future  that  is  open  to  a  Uttle  child. 
Properly  to  fill  this  inspiring  position,  this  rela- 
tionship of  elder  and  younger  workers  in  art,  the 
teacher  will  forever  remain  a  student,  learning 
daily  a  little  from  every  new  experience,  finding 
all  experience  rare  and  interesting.  The  joys  and 
sorrows  of  childhood,  no  less  than  its  opportuni- 
ties and  possibilities,  will  make  him  "new  every 
morning." 

It  is  in  this  attitude  that  the  teacher  will  re- 
ceive and  direct  that  essential,  vital  force  of  which 
we  have  spoken.  Expressed  in  triter  terms,  he 
will  avoid  being  half  dead  physically  by  being 
wholly  alive  spiritually.     And  in  this  spiritual 


MUSIC  TEACHING  AS  SERVICE  27 

realization  of  life  he  will  find  himself  possessed 
of  a  magic  wand  that  will  reveal  J:o  yoimger  eyes 
than  his  own  the  beauty  of  the  art  of  which  he 
announces  himself  to  be  a  disciple. 

Therefore,  let  the  young  teacher  work  out  for 
himself,  adjusting  it  the  best  he  can  from  day  to 
day  in  his  own  life,   this  fundamental  idea  of 
Service.     It  is  becoming  the  basic  principle  of 
commercial  life.     The  merchant  not  only  wants 
to  serve  the  public,  but  he  advertises  that  pur- 
pose even  with  his  bargain  sales.     His  method  of 
doing  business  is  to  send  his  buyers  to  all  parts 
of  the  earth  in  search  of  what  his  patrons  want. 
When    the   goods   have   been    transported   over 
thousands  of  miles  of  land  and  water  he  submits 
them    for    approval.     If    they    are    not   entirely 
satisfactory  even  after  purchase,  he  is  perfectly 
willing  to  return  the  money  and  accept  again  the 
goods  that  have  cost  him  so  much  search  and 
trouble.     This  is  becoming  the  merchant's  creed 
simply  because  he  is  alive  to  the  vital  fact  that 
there  is  no  such  thing  as  business  without  Service. 
The  more  perfectly  he  can  combine  these  two 
things— Business   and   Service— the   better  both 
become.      He  has  learned  long  ago,  and  maybe 
by  bitter  experience,  that  to  drop  Service  from 
his  business  creed  is  likewise  to  drop  business 

itself. 

And  this  factor  of  Service  is  even  a  more  natural 
consequence  in  what  we  may  not  improperly  call 


28    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

the  business  of  art.  When  we  rightly  perceive 
its  purpose  we  see  that  a  lesson  may  be  so  given, 
even  to  a  stupid  child,  as  to  brighten  and  magnify 
all  its  future.  In  the  application  of  that  fact  lies 
Service.  And  in  Service  itself  the  teacher  will 
find  not  more  trouble,  more  hardship,  more  ex- 
acting work,  but  infinitely  less  trouble,  better 
recognition,  and  a  day's  work  that  is  always  joy- 
ful. 


CHAPTER  IV 

MUSIC  TEACHING  AS  A  PROFESSION 

Can  the  music  teacher,  wilUng  to  be  of  service, 
find,  in  the  profession,  an  opportunity  to  live  a 
satisfactory  life  and  to  earn  a  satisfactory  liv- 
ing? 

It  used  to  be  said  that  the  cheapest  music 
instruction  ever  ofifered  was  that  of  an  English 
teacher  who  advertised  piano  lessons  at  a  penny 
apiece,  with  a  glass  of  milk  and  a  bun,  included. 
At  the  other  extreme  we  find  a  few  well-known 
American  teachers  whose  fee  for  instruction  is 
Ten  Dollars  an  hour,  while  a  famous  European 
pedagogue  is  said  to  receive  even  a  larger  sum 
than  this. 

There  is  wide  latitude  between  a  penny  and 
many  dollars  for  the  establishment  of  individual 
rates.  On  what  shall  they  depend?  By  what 
standard  may  they  be  fixed?  It  is  undeniable 
that  location  and  competition  play  their  parts. 
The  best  teacher  in  the  world  cannot  expect  ex- 
tremely large  fees  in  a  small  community,  and  a 
poor  teacher  is  not  worthy  of  fees  of  any  kind 
anywhere.      While  demand  and  supply  exercise 


30    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

their  influence,  there  are  always  two  factors  that 
ultimately  determine  the  value  of  a  teacher's 
services : 

(i)  Actual  teaching  ability. 

(2)  Results. 

No  testimonial  in  the  world  can  exceed  these 
as  a  practical  asset.  While  one  may  sometimes 
wonder  how  it  is  that  distinguished  speciaHsts 
receive  fees  that  are  so  large,  one  always  dis- 
covers on  inquiry  that  they  possess  an  abundance 
of  practical  knowledge  which  they  can  prac- 
tically apply.  They  know  exactly  what  to  do 
with  it;  and  they  produce  results.  A  well  known 
surgeon  who  receives  Five  Hundred  Dollars  even 
for  minor  operations,  is  overwhelmed  with  work 
because  of  his  record  for  skill  and  absolutely 
perfect  service.  Popular  artists  who  receive 
One  Thousand  Dollars  a  week — and  more — are 
always  found  to  possess  skill  in  their  special  lines, 
and  the  power  to  draw  audiences.  In  professional 
life,  no  less  than  in  business,  the  amount  of  money 
paid  is  rarely  questioned  if  the  actual  service  de- 
manded can  be  given.  Hence,  while  the  aver- 
age newspaper  man  is  paid  from  Twenty  to 
One  Hundred  Dollars  per  week,  a  certain  dis- 
tinguished editor  who  can  produce  results,  re- 
ceives upwards  of  Seventy-five  Thousand  Dol- 
lars a  year.  One  must  not  fail  to  perceive  that 
a  Seventy-five  Thousand  Dollar  newspaper  editor 
can  earn  that  amount  of  money  only  in  a  great 


MUSIC  TEACHING  AS  A  PROFESSION        31 

city.  He  must  have  a  geographical  location 
that  is  as  extensive  and  as  important  as  his 
genius. 

So  the  young  teacher  of  music  must  also  reckon 
on  this  factor  of  location.  To  live  and  to  teach 
in  a  small  town  has  many  benefits  and  some 
limitations.  One  should  be  conscious  of  both. 
Good  service  can  be  rendered  in  a  small  town  just 
as  well  as  anywhere  else;  hving  expenses  are 
likely  to  be  less  than  in  a  city;  one  enjoys  more 
leisure,  and  life  is  more  moderate.  As  a  com- 
paratively small  population  is  involved,  its 
spending  capacity  is  limited;  hence,  the  teacher's 
total  possible  income  is  more  or  less  definitely 
restricted.  Equally  good  service  can  be  ren- 
dered in  a  large  city.  But,  living  expenses  are 
higher,  there  is  keen  competition;  influence  is 
often  necessary  to  establish  acquaintance  among 
people  who  want  to  study;  and,  invariably  to 
the  new-comer,  the  path  is  not  smooth.  But 
once  established  and  giving  thoroughly  satis- 
factory service,  one  may  earn  more,  but  one  must 
spend  more  than  in  the  smaller  community. 

Let  the  music  teacher  take  up  his  abode  where 
he  may,  he  must  be,  so  far  as  he  goes,  thoroughly 
well  prepared  to  be  assured  of  success.  Given 
education  and  the  ability  to  instruct,  there  are 
yet  many  other  qualifications  which  he  must 
possess  before  he  can  apply  what  he  knows,  to 
what  he  is  required  to  do,  with  complete  success. 


32    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

We  need  mention  only  such  qualifications  as  are 
implied  in  tact,  culture,  refinement  of  speech  and 
of  manner,  interest  in  affairs,  and  the  impulse 
to  be  an  active  and  helpful  factor  in  the  life  of 
the  community,  to  realize  that  the  music  teacher 
can  find  through  the  avenues  of  the  profession  as 
great  opportunity  for  the  expression  of  a  well- 
rounded  individuality  as  is  possible  to  any  other 
member  of  society. 

To  the  young  teacher  who  is  striving  so  to 
establish  himself  that  he  may  serve  and  live  by 
his  own  efforts,  these  fundamentals  of  what  we 
may  call  successful  public  life  are  recommended 
for  very  earnest  consideration.  A  few  lessons 
and  a  little  advertising  are  not  their  equivalents. 
Nor  can  a  capacity  for  self-advancement  take 
one  very  far  when  impelled  by  pretense  and  the 
quality  known  as  push.  Properly  to  fill  the 
position  of  music  teacher,  means  that  there  is  a 
constant  demand  to  keep  thoroughly  prepared 
for  the  work.  Individual  refinement  may  be 
inherent,  but  it  may  still  further  be  refined ;  cul- 
ture may  be  natural,  but  it  must  be  developed 
before  it  can  become  a  potent  influence ;  interest 
in  life  may  not  remain  unexpressed,  but  must 
daily  exercise  itself;  and  the  art  of  music  itself  is 
so  many  sided  that  to  pursue  any  one  phase  of  it 
will  keep  the  most  ardent  teacher  as  perpetually 
active  as  commercial  life  keeps  the  wide-awake 
merchant. 


MUSIC  TEACHING  AS  A  PROFESSION        33 

Now  to  a  teacher  of  this  type — to  one  who  is 
vital  in  all  relations  and  interests — there  is  as 
great  a  field  for  service  and  as  favorable  an  op- 
portunity to  secure  a  livelihood  as  may  be  offered 
in  any  other  profession.  But  there  is  no  magic  in 
music  that  spontaneously  causes  gifts  to  be 
showered  upon  its  disciples.  To  the  proper  gen- 
eral and  special  education,  to  the  fundamental 
natural  capacity  on  which  to  build,  there  must 
be  added  that  self-organization  which  has  as 
much  to  do  with  real  success  as  talent  itself  has. 
By  self-organization  we  mean  the  process  of 
adapting  oneself  to  the  times  and  the  environ- 
ment, to  the  end  that  one  does  one's  best 
habitually.  A  few  fundamental  qualities  under- 
lie  this. 


I.    HEALTH   MUST  BE   MAINTAINED. 

Hence,  no  habit  of  depleting  nature  may  be 
formed.  The  teaching  day  is,  strictly  speaking,  a 
business  day  which  demands  one  hundred  per 
cent  of  mental  and  physical  ability. 


2.    SKILL   MUST   BE   INCREASED. 

Hence,    the    teacher    must    forever    remain    a 
student  and  be  keenly  desirous  to  augment  the 
intellectual     equipment     by     study,     education, 
travel,  and  the  opportunity  to  hear  music. 
3 


34    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

3.  LEISURE   MUST  BE   WISELY  INVESTED. 

It  has  been  said  that  all  careers  are  made  after 
six  p.  M.  It  is  quite  true  that  one's  investment 
of  leisure  time  is  the  determining  factor  in  the 
dividends  of  life. 

4.  COOPERATIVE  WORK  IS  ESSENTIAL. 

This  means  that  in  the  variety  of  activities 
that  make  up  the  social  complex  of  life,  the 
teacher's  art  of  music  must  be  one  of  the  essential 
forms  of  expression.  The  People's  Choral  Union 
of  New  York  was  founded  and  developed  by 
Dr.  Frank  Damrosch,  a  man  intensely  engrossed 
in  the  affairs  of  his  profession,  and  yet  he  found 
time  to  establish  an  institution  that  has  become 
famous  as  a  type,  not  alone  of  valuable  but  of 
indispensable  community  activity. 

Self-organization  then  comprehends  the  gov- 
ernance and  direction  of  the  self,  physically  and 
intellectually,  to  the  end  that  one  may  perform 
the  best  work  and  render  the  greatest  measure 
of  service.  It  is  opposed  to  the  thoughtless,  un- 
systematic scheme  of  life  that  is  often — and 
wrongly — coupled  with  genius.  No  man  in 
history  ever  lived  a  more  sane  and  well-directed 
life  to  the  immense  benefit  of  generations  than 
did  Johann  Sebastian  Bach.  A  great  prima 
donna,  whose  name  is  everyv\^here  familiar,  told 
the  writer    that   her  principal  activities  centred 


MUSIC  TEACHING  AS  A  PROFESSION        35 

on  improving  the  mind  by  study  (even  of  roles 
which  she  has  sung  for  many  years)  and  on  hold- 
ing herself  to  a  regimen  that  maintains  the  body 
in  the  condition  of  as  perfect  an  instrument  as 
possible. 

The  intellectual  worker  who  intends  to  render 
service  through  fitness  and  incessant  industry 
needs  a  definite  amount  of  sleep,  and  requires 
certain  nourishing  food.  No  negative  habit  may 
be  contracted  without  lowering  the  value  of  the 
individual.  An  adjustment  between  the  work 
one  plans  to  do,  or  has  to  do,  and  the  mental  and 
physical  instruments  with  which  to  perform  it, 
must  not  only  be  made  but  it  must  be  main- 
tained. Many  a  pianist  and  vocalist  know  that 
practice  is  necessary  for  technical  and  interpreta- 
tive efficiency,  but  sometimes  they  seem  to  over- 
look the  fact  that  this  same  efficiency  rests  no  less 
forcibly  upon  what  one  eats  and  drinks,  and  upon 
how  much  one  sleeps  and  exercises. 

Hence,  in  music  teaching  as  a  profession  there 
is  not  only  opportunity,  but  actual  necessity  for 
taking  a  dispassionate,  sensible  view  of  all  the 
factors  concerned.  The  average  musician  has 
little  sympathy  with  what  he  calls  the  affairs  of 
the  business  world;  hence  he  disregards  them,  and 
to  his  personal  loss.  The  business  world  con- 
ducts its  affairs  on  system;  it  makes  for  prompti- 
tude, reliability,  dependability,  and  a  fair  ex- 
change of  values.     It  is  forever  seeking  to  aug- 


36    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

ment  its  activity  through  the  stimulation  of  its 
vital  processes.  These  factors  are,  in  truth,  the 
symbols  of  its  vitality,  and  the  music  teacher  can 
introduce  them  into  the  loom  for  weaving  to  the 
immense  improvement  of  the  fabric  he  is  produc- 
ing. And  yet  another  factor  is  prominent  in  the 
affairs  of  the  business  world:  The  business  man, 
true  to  his  calling,  is  not  only  a  dealer  but  he  is  a 
creator.  He  is  ceaselessly  producing  that  which 
is  new,  more  serviceable,  more  worth  while  to 
purvey. 

Music  teaching  then,  as  a  profession,  must  to 
its  own  best  interests  be  founded  upon  what  are 
very  properly  denominated  creative  and  admin- 
istrative business  principles.  If  this  union,  or 
coalescence,  appear  to  the  teacher  to  involve  two 
things  utterly  opposed  to  one  another,  it  is  evi- 
dently necessary  to  become  acquainted  with  the 
sterling  reaHty  known  as  the  fine  art  of  business, 
in  order  that  he  may  realize  that  there  is  not 
opposition,  but  absolute  unity  between  them. 


CHAPTER  V 

EQUIPMENT  AND   SUCCESS 

The  teacher's  equipment,  then,  may  be  said 
to  begin  with  a  healthy  mind  in  a  healthy  body; 
next,  in  a  tacitly  admitted  and  actually  practised 
determination  to  make  the  most  of  mind  and 
body  by  insisting  on  their  obedience  to  certain 
Hues  of  action  and  conduct.  It  may  interest  the 
young  teacher  to  think  out  what  it  is,  that  can 
direct  both  mind  and  body,  for  mind  does  not 
direct  mind,  nor  does  body  direct  body. 

But  leaving  this  identity  of  the  individuality 
within,  to  personal  investigation,  what  equip- 
ment, of  more  or  less  material  nature,  does  the 
teacher  need?  He  inquires  very  anxiously 
whether  he  should  have  a  "studio"  or  go  from 
house  to  house  giving  lessons.  This  question 
may  arise  in  the  beginning,  but  a  little  business 
experience  (and  that  is  one  phase  of  teaching) 
should  speedily  settle  it.  There  is  a  man  in  New 
York  State  who  makes  chairs;  not  only  is  this  his 
business,  but  he  makes  people  come  and  get 
them.  He  refuses  to  take  a  chair  to  anybody. 
And  people  go  to  procure  them  because  the  man 
makes  a  kind  of  chair  not  to  be  found  anywhere 
else.  It  is  the  chair  and  not  the  place  in  which 
it  is  made  that  attracts  his  patrons. 

37 


38    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

All  teaching  equipment,  aside  from  knowledge 
and  the  individual  traits  of  the  instructor,  is 
in  the  nature  of  implements  or  tools.  But  no 
great  teacher  has  ever  advertised  the  furnishings 
of  his  studio.  Earnest  students  travel  thousands 
of  miles  for  the  privilege  of  gaining  admittance 
into  the  presence  of  an  eminent  teacher.  The 
less  they  think  of  his  studio  equipment,  the 
more  they  can  pay  heed  to  what  he  does  and 
says.  The  best  equipment  the  young  teacher 
can  begin  with,  is  the  determination  to  do  the 
finest  possible  piece  of  work  at  every  lesson  he 
gives,  irrespective  of  where  he  gives  it.  The 
photograph  of  his  studio  in  a  paper  or  magazine, 
and  the  announcement  of  delightful  receptions 
may  send  faint  echoes  down  the  streets  and  ave- 
nues, but  the  one  best  and  most  to  be  desired 
agency  that  perpetually  acts  in  his  behalf,  is  the 
well-taught  pupil. 

One  of  the  most  famous  teachers  that  ever 
lived,  was  a  man  named  Epictetus.  He  was  lame, 
he  was  born  a  slave,  and  lived  a  slave  for  many 
years  under  a  master  so  cruel  that  he  broke  the 
boy's  leg  one  day  when  he  was  twisting  it  for  fun. 
After  Epictetus  gained  his  freedom,  he  set  him- 
self up  as  a  teacher  of  philosophy.  Now  a  phil- 
osopher might  reasonably  be  expected  to  dress 
well,  have  an  attractive  abode,  and,  above  all 
things,  be  the  possessor  of  a  fine  library.  The 
equipment   of   Epictetus  was,  however,  simpler 


EQUIPMENT  AND  SUCCESS  39 

and  humbler  than  this:  He  owned  a  lamp,  a  bed, 
and  a  bowl,  and  nothing  more.  People,  rich  and 
poor,  crowded  to  hear  him,  and  there  is  no  question 
about  his  having  been  a  genuine  philosopher,  for 
his  works  are  extant  to-day  in  practically  all 
languages,  though  his  little  classes  met  two 
thousand  years  ago. 

And  yet  Epictetus  had  a  marvelous  equipment. 
To  begin  with,  he  was  all,  and  more,  than  he  ad- 
vised others  to  be.  He  knew  his  subject  not  only 
intellectually,  but  consciously.  He  was  not  a 
poseur,  but  a  man  of  character.  The  natural 
result  was  that  when  he  was  ready  to  speak  there 
were  plenty  of  people  ready  to  listen  and  to 
cherish  his  words;  one  man,  at  least,  wrote  them 
down  for  our  sakes'  to-day,  and,  let  us  hope,  for 
his  own  sake  then.^ 

Now  this  instance  may  not  help  the  young 
teacher  to  decide  how  to  furnish  the  studio,  or 
indeed  whether  to  have  one.  It  does  not  deter- 
mine what  kind  of  stationery,  pens,  pencils, 
books,  music,  rugs,  furnishings,  and  systems  of 
hght  and  heat  to  install.  Nobody  can  advise 
about  these  things.  If  he  will  persistently  in- 
crease his  skill,  and  remember  that  good  work  is 
the  best  advertising  agent  in  the  world,  equip- 
ment will  take  care  of  itself;  that  is,  it  will  come 

1  The  Discourses  of  Epictetus  were  written  by  his  pupil, 
Flavius  Arrianus,  known  as  "  one  of   the  first  of  Roman 


40    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

of  itself,  and  he  will  be,  no  doubt,  so  SHCcessfnl 
that  he  may  engage  somebody  to  take  care  of  it. 
In  business  and  professional  life,  equipment  comes 
after  the  biblical  manner:  we  must  first  believe 
in  the  kingdom,  and  then  these  other  things  are 
added  unto  us. 

It  is  naturally  best  in  the  upbuilding  of  pro- 
fessional life  to  secure,  as  one  can,  those  things 
which  directly  contribute  to  the  activity  of  one's 
calling.  Thus,  a  music  teacher  should  begin  to 
build  up  a  reference  library.  This  should  be 
founded  on  a  good  dictionary  of  the  English 
language,  a  dictionary  of  music,  musicians  and 
musical  terms.  As  he  can  afford  to  do  it,  he 
should  gather  a  small  collection  of  books  as  a 
"lending  library."  Many  a  pupil's  interest  in 
music  is  directed  and  deepened  by  reading 
the  biography  (especially  the  child  and  youth 
portion  of  it)  of  a  composer.  Another  adjunct 
that  may  attract  children  is  a  collection  of  music 
prints  and  pictures.  They  may  be  found  in 
magazines,  and  with  a  little  effort,  made  to 
form  a  really  interesting  gallery. 

The  expense  and  care  that  provides  these 
essentials  come  under  the  head  of  equipment; 
they  are  instances  of  spending  for  power  and  not 
merely  for  pleasure.  They  are  intended,  in  the 
popular  phrase,  to  indicate  litde  lines,  faint  at 
first  probably,  of  success.  And  rightly  applied, 
they  are  really  success  lines.     Now   this  word 


EQUIPMENT  AND  SUCCESS  41 

"success"  brings  us  back  again  to  the  fundament 
of  music  teaching,  which  is  the  art  of  applying 
what  one  knows  and  of  mastering  this  art,  a  Uttle 
more  thoroughly,  every  day.  It  is  simple  enough 
to  learn  about  anything,  but  what  end  shall  it 
serve  in  daily  Hving?  This  test,  which  the 
teacher  should  ceaselessly  apply  to  himself,  he 
must  also  apply  to  his  own  pupils.  What  shall 
they  do,  or  what  can  they  do  to  make  practical 
application  of  what  they  learn  from  him?  Un- 
less their  investment  in  his  system  of  train- 
ing results  iu  greater  livingness,  something  is 
wrong. 

Of  all  the  equipment  a  teacher  ultimately 
possesses,  the  reputation  for  successful  work  is 
the  one  essential.  Success  is  a  possession  into 
which  everyone  desires  to  enter  at  once.  But  it 
is  not  so  to  be  obtained.  It  is,  in  fact,  not  a 
thing,  but  a  developing  result.  The  furnishing 
of  a  studio  may  well  give  way  to  the  mental  im- 
pulse and  to  the  habits  of  life  that  underlie  char- 
acter. Work,  success,  art  and  money  may  be 
made  to  weave  in  the  loom  just  as  perfectly  as 
work,  success,  business  and  money. 

The  distinguished  painter,  Corot,  was  once 
asked : 

How  do  you  paint  so  beautifully? 

And  he  replied: 

First  I  dream  my  picture;  then  I  paint  my 
dream. 


42    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

The  discriminating  reader  will  note  that  his 
reply  may  be  expressed  in  these  terms: 

First  I  make  up  my  mind  What  to  do,  then  I 
do  it. 

All  success  is  based  upon  the  two  terms  of  this 
statement.  By  natural  gift  and  education  we 
are  enabled  to  determine  what  is  best  to  do,  and 
then,  if  we  possess  the  requisite  amount  of  energy, 
we  can  actually  proceed  to  do  it.  Dreams  of 
great  achievement  may  be  a  pleasing  diversion 
to  the  mind  that  originates  them,  but  they  can 
benefit  neither  the  world  at  large,  nor  the  dreamer 
himself  until  they  have  been  made  to  come  true 
by  action. 

It  is  reasonable,  then,  to  suppose  that  the 
process  of  winning  success  in  music  does  not 
differ  in  any  essential  particular  from  the  process 
of  attaining  it  in  any  other  calling.  By  natural 
endowment  (talent  or  genius)  which  has  been 
developed  by  education  (and  plenty  of  it),  we 
are  enabled  to  dream  reasonable  dreams  and,  as 
Corot  said,  to  know  how  to  go  about  painting 
them,  for  others  to  see. 

The  young  aspirant  for  success,  even  if  his 
ambition  be  a  modest  one,  may  profitably  ac- 
quaint himself  with  what  significant  men  have 
said.  Meyer  Rothschild,  Marshall  Field,  John 
McDonogh,  and  all  others  who  have  ever  ex- 
pressed themselves  as  to  the  conditions  on  which 
success  is  achieved,  have  never  given  a  single  com- 


EQXnPMENT  AND  SUCCESS  43 

plex  rule.  They  are  always  simple,  so  amazingly 
simple,  in  fact,  that  we  are  at  first  impelled  to 
believe  that  the  speaker  is  revealing  only  a  part 
of  the  truth.  It  sounds  too  obvious  to  be  wholly 
true.  And  yet  all  the  truth  such  men  have  to 
tell  about  the  achievement  of  their  own  success, 
is  the  whole  truth,  and  nothing  but  the  truth. 

First,  they  insist,  there  must  be  the  so-called 
natural  gift  for  doing  what  we  have  elected  as  the 
life  work.     This  must  be  developed  as  fully  as 
possible    by    training.     Some    men    have    found 
their  education  in  schools,  others  in  books  and  in 
the  world  of  experience.     But  they  have  always 
secured  it,  one  way  or  another.     The  next  essen- 
tial is  untiring  industr^^  a  capacity  for  work  that 
is  entirely  reliable  in  any  emergency.     And  next— 
and  common  to  all  rules  for  success  ever  given—- 
is  the  injunction  to  do  ser\'ice;  so  to  apply  one's 
business  or  professional  training  that  the  com- 
munity, at  large,  in  which  we  labor,  is  benefited. 
Thus  far  we  have:     (i)  Talent,  (2)  Training, 
(3)   Industry.     Now,  these  essentials  cannot  be 
made  to  produce  the  best  results,  in  the  interest 
of  Ser\4ce,  unless  they  proceed  from  a  healthy 
mind  in  a  healthy  body.     Successful  men  have 
pointed  out  that  health  is  not  only  necessary 
but    that    it    is    maintained,    not    by    worrying 
about  it,   but  by   avoiding   those  habits  which 
are  directly  detrimental  to  it.     IMany  a  richly 
gifted    man    has    ruined    a    brilliant    career    by 


44    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

thinking  more  highly  of  a  habit  or  two  than  he 
thought  of  his  abiUty.  Hence,  to  adopt  a  habit 
that  is  negative  in  its  influence,  is  an  exceedingly 
solemn  affair.  In  the  beginning  it  may  be  a 
very  pleasant  thing  to  entertain,  but  let  it  grow 
to  be  twenty  years  old  and  it  is  apt  to  cloud 
both  vision  and  judgment  in  their  application 
to  Industry  and  to  Service. 

Next,  all  successful  men  have  insisted  that 
Skill  must  be  increased.  By  this,  they  mean 
that  the  education  which  fits  us  for  the  best  work 
in  life  must  go  on  continuously.  The  artist  and 
the  teacher  never  graduate  but  once,  in  the  scho- 
lastic sense.  Thereafter  they  must  work  more 
earnestly,  think  more  deeply,  accomplish  more 
directly  day  after  day,  and  accept  the  increase  of 
skill  and  the  ability  to  do  better  service,  as  their 
reward. 

It  is  evident  that  the  busy  professional  man 
cannot  find  all  the  education  he  needs  in  the  daily 
occupation  itself.  Hence,  another  essential  quali- 
fication for  success  (that  continues  to  grow  natu- 
rally) is  found  in  the  use  of  Leisure.  That  is,  in 
the  margin  of  free  time  that  we  find  at  our  dis- 
posal after  the  day's  work  is  done,  there  lies  the 
opportunity  for  further  development  that  is  in- 
dispensable to  our  normal  growth. 

Now  Leisure  must  not  be  solely  employed  in 
building  castles  in  Spain.  It  must  be  systemat- 
ically devoted  to  whatever  activity  will  advance 


EQUIPMENT  AND  SUCCESS  45 

US  from  the  point  where  we  now  stand.  Hence, 
the  systematic  use  of  spare  hours  (not  forgetting 
that  the  right  pleasures  of  Hfe  are  as  important  as 
the  right  labor)  means  exactly  what  it  says — 
employing  them  by  system.  And  this  intro- 
duces the  word  that  no  successful  man  omits 
from  his  Success-rules;  the  word  System.  It 
seems,  at  first,  utterly  opposed  to  everything 
that  we  commonly  call  "artistic."  The  ex- 
pression "a  systematic  genius"  seems  at  first 
hearing,  an  anomaly.  But  the  more  the  actual 
progressive  and  creative  work  of  all  men  of 
genius  is  observed,  the  more  systematic  do  we 
find  it  to  be.  In  playtime  the  genius  may  play 
very  hard,  may  find  his  amusement  after  the  dic- 
tates of  his  particular  temperament;  but  in  work- 
ing hours,  his  plan,  method,  and  purpose  are  as 
definite  and  systematic,  as  practical  and  direct  as 
those  of  a  banker  or  a  merchant. 

Success,  then,  is  based  on  comparatively  simple 
conditions;  that  is,  they  are  simple  as  we  read 
them.  But  actual  genius  is  required  persistently 
to  apply  them ;  and  it  is  in  the  continuous  applica- 
tion of  these  simple  rules  that  we  ultimately  de- 
velop ourselves  so  as  to  give  out  the  best  there 
is  in  us.  It  is  as  true  in  art,  as  it  is  in  business, 
that  the  extent  to  which  we  command  ourselves 
to  that  extent  we  are  capable  of  expressing  our- 
selves. 


CHAPTER  VI 


PEDAGOGY 


Pe;dagogy,  in  every  application  of  its  princi- 
ples, is  becoming  daily  a  more  and  more  special- 
ized subject.  The  wide-spread  interest  in  the 
work  of  Mme.  Montessori  show^^-Uiat  teachers 
are  eager  to  learn  of  any  new  means  or  method 
by  which  the  attainment  of  knowledge  on  the 
part  of  children  shall  be  accomplished  in  the 
most  natural  and  direct  manner. 

There  are  a  few  instructors  in  music  who  are, 
without  doubt,  great  pedagogues.  Whether  by 
training  or  by  intuition  that  is  strengthened  by 
years  of  experience,  they  proceed  unfailingly  to 
adopt  the  right  way  of  conducting  musical  edu- 
cation. But  this  is  by  no  means  wholly  a  natural 
gift,  hence  the  fact  that  many  excellent,  even 
greatly  gifted  musicians,  possess  little  or  no 
talent  for  instruction. 

The  young  teacher  may  profitably  turn  to 
this  subject  as  one  worthy  of  study.  He  need 
not  think  deeply  on  what  is  involved  in  giving  a 
lesson  to  realize  that  much  is  concerned  in  it. 
The  principal  factors  and  conditions  may  be 
said  to  be  these: 

46 


PEDAGOGY  47 

(i)  Every  pupil  is  absolutely  unlike  every 
other. 

(2)  Hence,  the  individuality  of  the  learner 
becomes  the  starting  point. 

(3)  The  pupil  must  be  taught  the  ethics  of 
the  actual  business  obligations  involved  in  re- 
ceiving instruction:  promptness,  dependability, 
faithful  work,  and  the  Hke. 

(4)  The  technic  of  procedure  (mentioned  in 
No.  3J  once  established,  the  teacher  must  him- 
self study  the  physiological  problem  in  the 
pupil — for  the  body  must  be  trained  into  perfect 
adjustment  to  the  instrument. 

(5)  Mental  habits  must  be  instilled.  Pupils 
rarely  know  how  to  go  about  preparing  the  lesson 
that  has  been  assigned.  It  is  not  difficult  to  make 
careful  assignment  of  the  work  to  be  done  for  the 
next  lesson,  but  the  exact  manner  of  doing  it  is 
even  more  essential. 

(6)  While  mind  and  body  are  learning  their 
adjustments,  mastering  their  independent  prob- 
lems, the  higher  faculties  must  be  trained  to 
grasp  the  meaning  of  the  art  of  music.  What 
is  it?  What  does  it  aim  to  say?  Of  what  use 
is  it?  What  may  a  boy  or  a  girl  full  of  life  and  the 
love  of  games  and  activity  do  with  it? 

The  consideration  of  these  preliminary  ques- 
tions w411  reveal  to  the  teacher  some  of  the 
practical  bearings  of  Pedagogy  as  applied  in 
music  teaching.     Every  lesson  is  an  opportunity 


48    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

of  the  finest  kind  for  laboratory  study.     Here,  if 
he  learns  to  observe,  is  the  finest  possible  illus- 
tration of  the  effect  of  one  mind  working  with 
another  as  its  guide  and  giver  of  strength.     As- 
suming that  the  teacher  is  aware  that  all  pupils 
may  not  be  run  through  the  same  hopper  in  the 
same  way,   he   will  learn  another  fundamental 
truth  of  great  importance:    Every  pupil  must  be 
studied  as  a   unique   and  individual   center   of 
future  citizenship.     The  conditions  that  influence 
any    individual    pupil    cannot,    in    any    circum- 
stances, be  duplicated.     Home  life  as  the  back- 
ground out  of  which   the   pupil   comes   to  the 
teacher    is    immensely    important.     He    should 
know  what  this  is  and  what  influence  it  exerts 
upon   the   child,   even   so   far   as   to   determine 
what  he  (the  teacher)  should  do  to  be  assured 
that  the  lesson  will  have  its  required  right  of  way 
in  the  family  life.     Equally  important  is  the  ad- 
justment of  music  lessons  to  school  life.     The 
teacher  will  work  only  to  his  own  disadvantage 
if  he  is  not  thoroughly  familiar  with  the  pupil's 
regular  schedule  of  home  and  school  life,  taking 
care  to  adjust  what  he  is  doing  to  them,  so  as  to 
secure  a  practical  working  program. 

If  the  teacher  is  inclined  to  think  of  these 
preliminary  adjustments  as  quite  aside  from  his 
province,  he  may  as  well  conclude  before  he  be- 
gins that  all  the  Pedagogy  in  the  best  books  will 
not  avail  in  the  least.     All  modern  business  aims 


PEDAGOGY  49 

to  secure  what  is  known  as  a  basis  of  efficient 
operation,  and  the  business  man  reads  in  this 
phrase  no  uncertain  or  impractical  elements.  If 
the  music  teacher  desires  to  be  efficient  financially 
or  pedagogically  or  in  any  other  way,  the  business 
man's  method  must  be  his.  The  teacher  may 
profitably  study  what  the  merchant  does.  He 
secures  an  efficient  building — one  that  adapts 
itself  to  his  line  of  activity  and  is  favorably 
situated  for  communication  with  the  business 
world.  He  arranges  his  goods,  machines,  doors, 
light,  elevators,  and  floor  space  so  that  the  best 
results  from  the  least  motion  and  expense  are 
secured,  for  he  knows  that  loss  of  motion  is  an 
increasing  expense,  and  increasing  expense  cuts 
down  profit  and  makes  it  harder  for  him  to  render 
service.  All  such  business  efficiency  problems 
are  the  pedagogy  of  commercial  life.  They 
next  move  into  the  domain  of  the  worker  or 
operator.  Every  business  man  insists  that  his 
workmen  sJtall  know  exactly  what  to  do,  when, 
and  how  to  do  it.  That,  in  music  teaching,  is 
putting  the  pupil  in  working  order  as  a  collab- 
orator with  the  teacher  and  with  the  teacher's 
purposes. 

There  are  some  practical  ways  for  the  teacher 
to  proceed  in  order  to  increase  his  own  pedagogic 
efficiency. 

(i)  He  can  take  up  a  course  in  Pedagogy  under 
a  teacher  personally. 

4 


50    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

(2)  Or,  read  sonie  standard  texts  on  the  sub- 
ject. 

(3)  Or,  study  the  subject  under  the  guidance 
of  university  teachers,  by  the  correspondence 
method. 

To  pursue  any  one  of  these  plans  will  result 
in  practical  benefit  only  if  he  persistently  apphes 
what  he  learns  to  the  daily  experience  in  giving 
lessons.  An  empirical  knowledge  of  Pedagogy 
is  of  little  use.  Every  lesson  one  gives  is 
bristling  with  the  vital  activity  of  pedagogy  in 
operation.  It  is  worth  while  to  learn  to  see  this 
and  to  comprehend  its  relation  to  the  child's  mind 
in  action. 

Text  books  on  Pedagogy  approach  the  subject 
in  one,  or  both,  of  two  ways: 

(i)  Either  the  subject  is  treated  historically 
and  the  principles  of  education  brought  before 
the  reader  in  the  order  of  their  chronological 
development  on  the  part  of  the  race. 

(2)  Or,  the  text  is  confined  to  the  presentation 
of  the  principles  alone. 

Almost  any  Science  of  Education  or  Manual  of 
Pedagogy  is  a  safe  guide  for  the  teacher.  Com- 
mon to  them  all  he  will  find  such  topics  as 
these : 

(i)  The  Mental  and  Moral  Faculties,  their 
Nature  and  Development. 

(2)  The  Objective  and  Subjective  Phases  of 
Life. 


PEDAGOGY  51 

(3)  A  discussion  of  Kindergarten  Systems. 

(4)  Perceptions  and  Concepts. 

(5)  The  Phenomena  of  Intellectual  Develop- 
ment. 

(6)  Inductive  and  Deductive  Reasoning. 

(7)  Mental  Operations  in  Action:  Memory, 
Concentration,  Observ^ation. 

(8)  The  Physical  Adjustment  as  basis  for 
mental  development. 

One  need  only  read  this  list  of  subjects,  com- 
mon to  nearly  all  texts  on  Pedagogy,  to  realize 
their  immediate ;  application  to  the  daily  work  of 
the  humblest  teacher  of  music.  Once  under- 
stood and  applied,  they  become  the  "business 
efficiency"  of  the  teacher's  activity.  No  one  is 
bom  with  a  knowledge  of  these  matters.  But 
one  can  benefit  by  the  experiences  of  others; 
learn  them  and  apply  them  with  incredible 
rapidity  as  compared  'vsith  the  time  it  has  taken 
the  race  to  acquire  them.  This  is  one  of  the 
marv^elous  powers  of  books.  They  compress  and 
concentrate  great  human  experiences,  and  permit 
us  to  view  more  than  we  can  otherwise  see,  un- 
aided, from  where  we  stand. 

"Let  no  one  suppose,"  says  the  author  of  a 
text  on  the  History  mtd  Science  of  Education,^ 
"that  the  higher  departments  of  the  teacher's 
profession  are  attained  without  some  effort,  or 
that  honorable  distinction  is  the  result  of  chance. 
1  William  J.  Shoup,  M.S. 


52    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

There  is  no  royal  road  to  preferment  here,  any 
more  than  in  other  departments  of  professional 
life.     Here,  as  elsewhere, 

'The  heights  by  great  men  reached  and  kept, 

Were  not  attained  by  sudden  flight; 
But  they,  while  their  companions  slept, 
Were  toiling  upward  in  the  night.' 

"If  you  expect  to  rise  above  the  rank  of  a 
non-professional  teacher  and  become  an  educator 
in  the  higher  and  better  sense  of  the  term,  you 
must  make  yourself  familiar  with  the  laws  that 
govern  the  development  of  the  human  mind; 
and  you  must  learn  to  adapt  your  teaching  to 
those  laws.  Having  made  this  advance  you 
should  learn  to  regard  your  calling  as  a  profession 
rather  than  a  trade,  and  should  expect,  too,  the 
more  desirable  positions  and  the  better  salaries. 

"Let  no  one  persuade  you  that  to  gain  such 
honorable  position  in  the  higher  departments  of 
educational  work  at  the  present  time  is  any 
trivial  matter.  There  are  those  who  will  tell 
you  that  there  is  no  science  in  teaching,  and 
that  for  you  to  study  the  'philosophy  of  teach- 
ing' is  to  waste  your  time.  How  can  these  peo- 
ple know,  having  themselves  confessedly  never 
'wasted  any  time'  in  the  study?" 

In  ancient  times  the  status  of  the  pupil  was 
defined  with  no  doubt  as  to  his  value,  in  life, 
and  with  no  less  uncertainty  as  to  his  relation  to 


PEDAGOGY  53 

his  teacher.  It  was  a  clearly  expressed  belief 
among  the  ancient  Hebrews  that  "the  world 
exists  only  by  the  breath  of  school  children." 
In  all  Jewish  education  "great  stress  was  laid 
upon  the  character,  and  especially  the  purity, 
of  the  teachers,  and  the  demeanor  of  the  children. 
Of  the  former  (the  teachers)  the  highest  worth 
and  dignity  were  demanded.  Their  work  was 
regarded  as  divine  work,  atid  themselves  almost  as 
divine  agents/'^ 

The  pupil  as  viewed  by  the  Talmud,  was  sub- 
ject to  perform  for  his  teacher  all  kinds  of  work 
which  a  servant  does  for  his  master,  "except  the 
taking  off  and  putting  on  of  shoes.  Pupils 
were  grouped  into  four  classes,  corresponding 
respectively  to  a  sponge,  a  funnel,  a  strainer,  arid 
a  sieve :  the  sponge  imbibes  all ;  the  funnel  receives 
at  one  end  and  discharges  at  the  other;  the 
strainer  suffers  the  wine  to  pass  through,  but 
retains  the  dregs ;  and  the  sieve  removes  the  bran, 
but  retains  the  flour."  The  author  quoted  below, 
instances  the  remark  of  a  rabbi,  who  said: 

"I  have  learned  much  from  my  teachers,  more 
from  my  school -fellows,  but  most  of  all  from  my 
pupils." 

As  no  voyage  is  ever  imdertaken  with  profit 

and  pleasure  to  the  traveler  without  an  objective 

point,  so  no  educational  work  performed,  even  by 

the  lowliest  teacher  with  the  least  gifted  pupil, 

1  The  History  of  Education,  by  Thomas  Davidson. 


54    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

will  result  in  mutual  benefit  unless  the  actions 
and  purposes  involved  make  for  the  one  definite 
end  toward  which  all  right  education  must  move. 
And  that  end  is,  How  to  Hve?  If  a  child  re- 
ceives no  more  than  ten  piano  lessons,  the  teacher 
who  gives  them  (and  who  probably  discontinues 
them  because  of  the  pupil's  hopeless  incapacity) 
must  in  some  measure  make  this  question  a 
Httle  easier  to  answer.  In  "What  Knowledge  is 
of  the  Most  Worth,"  Herbert  Spencer  sums  up 
all  the  practical  purposes  and  applications 
of  education  (or  pedagogy,  applied)  in  this  one 
question : 

"How  to  live? — that  is  the  essential  question 
for  us.  Not  how  to  live  in  the  mere  material 
sense  only,  but  in  the  widest  sense.  The  general 
problem  which  comprehends  every  special  prob- 
lem is,  the  right  ruling  of  conduct  in  all  direc- 
tions under  all  circumstances.  In  what  way 
to  treat  the  body;  in  what  way  to  treat  the  mind; 
in  what  way  to  manage  our  affairs;  in  what  way 
to  bring  up  a  family;  in  what  way  to  behave  as 
a  citizen;  in  what  way  to  utiHze  all  those  sources 
of  happiness  which  nature  supplies — how  to  use 
our  faculties  to  the  greatest  advantage  of  our- 
selves and  others — how  to  live  completely? 
And  this  being  the  great  thing  needful  for  us  to 
learn,  is,  by  consequence,  the  great  thing  which 
education  has  to  teach.  To  prepare  us  for  com- 
plete living  is  the  function  which  education  has 


PEDAGOGY  55 

to  discharge;  and  the  only  rational  mode  of 
judging  of  any  educational  course  is,  to  judge  in 
what  degree  it  discharges  such  function. 

"This  test,  never  used  in  its  entirety,  but  rarely 
even  partially  used,  and  used  then  in  a  vague, 
half-conscious  way,  has  to  be  applied  consciously, 
methodically,  and  throughout  all  cases.  It  be- 
hooves us  to  set  before  ourselves,  and  ever  to  keep 
clearly  in  view,  complete  living  as  the  end  to  be 
achieved;  so  that  in  bringing  up  our  children  we 
may  choose  subjects  and  methods  of  instruction 
with  deliberate  reference  to  this  end."^ 

Perhaps  it  has  not  been  summed  up,  for  the 
modern  teacher,  better  or  more  concisely  than 
in  the  two  paragraphs  that  follow.  They  show 
clearly  that  the  co-ordination  of  .outer  (physical) 
technical  proficiency  always  (fepends  upon  the 
inner  (or  spiritual)  perception : 

"When  the  mind  becomes  mechanical,  it  is  de- 
parting radically  from  its  essential  source  as  a 
living  organism.  It  depends,  however,  wholly 
upon  the  manner  in  which  we  treat  the  mind 
whether  it  retains  its  vital  character  or  becomes 
a  mere  machine.  We  must  have  that  type  of  edu- 
cation which  will  develop  the  mind  as  a  living 
spirit  and  not  allow  it  to  deteriorate  into  the 
operations  of  a  machine,  however  perfect  the 
machine  may  be. 

"The  period  of  education  is  peculiarly  a  time  for 
^  Herbert  Spencer,  On  Education,  Chapter  I. 


56    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

the  awakening  of  the  slumbering  mind  and  stim- 
ulating the  brain  cells  into  vigorous  activity, 
causing  the  brain  itself  to  expand  with  its  expand- 
ing powers.  It  is  the  function  of  the  teacher  to 
call  forth  the  spirit  of  life  within  the  child.  What- 
ever lessons  may  be  taught,  the  great  central 
purpose  of  teaching  must  not  be  forgotten,  or 
ignored,  or  regarded  as  secondary,  namely,  the 
solicitous  care  and  training  of  the  powers  of  reason. 
The  brain,  the  eye,  the  hand  must  be  nicely  co- 
ordinated; but  let  no  one  deceive  himself  with  the 
prevalent  modern  fallacy  that  the  eye  and  hand 
can  be  trained,  while  the  central  factor  of  the 
combination,  the  brain  itself,  be  left  out  of  ac- 
count altogether."^ 

^Dr.  John  G.  Hibben,   President  of  Princeton  Uni- 
versity. 


CHAPTER  VII 


MUSICAL  THEORY 


It  has  been  said  that  many  a  teacher  has  led 
his  pupils  through  the  foreign  countries  of  chang- 
ing keys  with  Httle  or  no  knowledge  of  location 
during  the  journey.  This  is  probably  an  exag- 
geration, and  yet  there  are  not  a  few  teachers  who 
do  a  thri\dng  business  on  very  little  knowledge 
of  the  laws  of  music. 

Formerly  "a  little  harmony,"  while  not  a  pre- 
cious thing  to  the  average  pupil,  was  often  an 
unusual  accomplishment.  To-day,  not  only  do 
schools  most  carefully  and  systematically  provide 
a  course  in  the  theory  of  music,  but  they  demand 
that  the  subject  be  pursued  with  equal  vigor  with 
the  principal  subject.  And  not  schools  alone, 
but  many  private  teachers  make  musical  theory 
as  much  a  part  of  the  regular  piano,  vioHn,  or 
voice  instruction  as  the  lesson  hour  permits. 
At  the  Music  School  Settlement,  in  East  Third 
Street,  New  York  City,  where  children  are 
taught  music  either  for  nothing  or  for  very  small 
fees,  the  musical  theory  classes  are  among  the 
most  intensive  and  important  of  any  given  in  the 
school. 

57 


58    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

The  expression  Musical  Theory  is  used  here  to 
include  that  group  of  subjects  which,  beginning 
with  the  Rudiments  of  Music,  includes  Melody- 
Writing,  Harmony,  Counterpoint,  Musical  Form 
Analysis,  Fugue,  and  Composition.  In  one  of  the 
most  prominent  schools  in  the  City  of  New  York, 
this  course  of  study  extends  over  seven  years. 
Every  student  in  the  school  who  is  a  candidate 
for  graduation  in  the  departments  of  piano,  voice, 
organ  and  stringed  instruments,  is  obliged  to  take 
at  least  four  of  the  seven  years  of  work.  In  the 
Department  of  Public  School  Music,  the  course 
in  Theory  continues  for  three  years,  and  in- 
cludes: Musical  Rudiments,  Melody  Writing, 
Harmony  from  the  Given  Bass  and  Given 
Soprano,  Counterpoint  in  two  and  three  parts, 
original  two-  and  three-part  writing.  Musical 
Dictation,  and  Musical  Form  Analysis.  The 
student  of  piano,  voice,  organ,  and  stringed  in- 
struments receives  even  more  than  this — and  it 
is  the  established  conviction  that  such  a  course, 
wherever  presented,  is  neither  too  long  nor  too 
exacting. 

There  is  no  expression  more  familiar  than  the 
one  which  tells  us  that  music  is  a  language.  In 
a  sense,  it  is  a  language,  and  from  this  point  of  view 
it  is  particularly  appropriate  so  to  speak  of  what 
we  are  here  including  under  musical  theory,  for 
it  is  the  necessary  source  of  expression  for  the 
language.     Before  a  teacher  may  capably  and 


MUSICAL  THEORY  59 

authoritatively  interpret  even  simple  music,  he 
must  be  thoroughly  familiar  with  the  art  that 
produced  the  music.  Its  construction  and  mes- 
sage should  hold  no  secrets  from  him.  Here  we 
may  more  or  less  agree  with  the  distinguished 
theorist  who  said  that  properly  to  perform  a 
Fugue  on  the  piano  or  organ,  one  should  be  able 
to  write  a  Fugue.  This  may  overstate  the  matter 
in  a  measure,  but  it  is  nearer  the  truth  than  many 
otherwise  good  musicians  admit. 

Musical  Construction  as  the  basis  of  musical 
interpretation  sets  the  matter  of  theory  before 
us  on  the  basis  of  its  most  logical  and  necessary 
claims.  To  the  music  teacher  of  whatever  in- 
strument, some  few  fundamentals  are  of  basic 
necessity.     He  should  be  able: 

(i)  To  think  in  tone  (that  is,  to  think  melody 
and  harmony  constructively  as  he  thinks  out  the 
composition  of  a  letter  in  English). 

(2)  To  recognize  a  series  of  tones,  in  melodic  or 
harmonic  combination  by  the  ear. 

(3)  To  grasp,  on  hearing  a  composition,  a  fairly 
definite  conception  of  its  formal  structure. 

(4)  To  write  music,  at  least  of  simple  character, 
readily  and  freely,  and,  of  course,  correctly. 

The  value  of  this  is  not  a  fanciful  matter.  The 
ability  to  do  these  things  merely  equips  the 
teacher  of  music  to  do  what  the  teacher  of  English 
must  do.  In  fact,  the  relative  equipment  of  these 
two  teachers  (of  music  and  EngHsh)  invariably 


6o    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

shows  the  teacher  of  BngHsh  to  be  far  the  better 
able  to  handle  the  language  than  is  the  teacher  of 
music.  This  is  but  another  instance  of  the  con- 
dition we  referred  to  in  the  first  chapter:  an  ab- 
sence for  all  teachers  alike  of  a  standard  of  attain- 
ment that,  did  it  exist,  and  could  it  be  enforced, 
would  enable  all  music  teachers  to  become  as 
familiar  with  these  subjects  as  the  English  teacher 
is  with  the  parallel  subjects  of  his  profession.  If 
we  examine  a  simple  piece  of  music,  we  see  at 
once  that  there  is  more  in  it  for  our  consideration 
and  appreciation  than  is  generally  brought  out 
by  the  perfunctory  manner  of  playing  of  the  per- 
functorily taught  pupil.  The  first  few  measures 
of  the  first  Beethoven  Sonata  will  illustrate  this: 
In  the  opening  measures  (eight)  there  is  a  dis- 
tinct tone  line  (or  melody  line)  which  though  sim- 
ple, is  singularly  beautiful.  To  comprehend  its 
simplicity,  one  has  only  to  note  in  the  left  hand 
the  nature  of  the  harmonic  fundament,  merely 
an  alternation  of  tonic  and  dominant  (save  one 
chord).  The  form  of  the  melody,  its  rhythmic 
structure,  its  adherence  to  a  single  motive,  and 
the  progress  of  the  whole  to  a  climax  point  on  the 
dominant,  these  at  once  characterize  the  eight 
measures  with  an  aristocracy  of  thought  that  can 
say  much  in  little.  There  is  a  dignity  of  proced- 
ure here  which  makes  us  know  instinctively,  if 
we  are  at  all  sensitive  to  music,  that  simple  as 
this  brief  musical  statement  is,   we  shall   hear 


MUSICAL  THEORY  6 1 

more  of  it.  We  have  only  to  glance  through  the 
movement  to  see  that  the  composer  never  leaves 
this  simple  text  until  he  has  brought  it  before  us 
in  many  and  var\'ing  lights,  always  with  the  result 
of  more  and  more  beauty  being  made  manifest. 

This  constructive  principle  pervades  all  good 
music.  It  does  not  reveal  itself  on  the  surface, 
nor  can  one  be  completely  aware  of  it  purely  by 
intuition.  The  beauty  of  so-called  classical  music 
is  not  always  self-evident.  It  is  something  akin 
to  the  flower  of  the  trillium  that  has  to  be  sought 
under  the  foliage.  On  the  other  hand,  all  popular 
music  of  the  evanescent  kind  has  no  scheme  of 
construction.  Compared  with  good  music,  it  is  a 
box  roughly  knocked  together,  and  not  a  masterly 
wrought  bit  of  fine  cabinet  work  of  rare  wood. 
For  this  reason,  the  popular  music  of  the  day 
never  lasts.  It  is  unworthy  of  close  analysis; 
that  is,  it  yields  nothing  on  analysis  except  more 
and  more  of  its  per\'ading  quality  of  common- 
ness. Even  people  who  are  entirely  uneducated 
in  music  cannot  long  content  themselves  with  the 
same  popular  music.  Thus  it  must  change  from 
day  to  day,  and  some  new  catch  phrase  is  con- 
stantly dethroning  the  one  that  has  just  engrossed 
the  public  mind. 

Now  no  music  teacher  should  ever  omit,  or 
fail  to  point  out  to  the  pupil,  the  underlying 
structural  scheme  of  the  composer.  That  the 
teacher  may  be  able  to  do  this  demands  thorough 


62    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

training  in  Musical  Theory.  One  form  of  con- 
structive science  underlies  the  works  of  Bach 
and  Handel;  another  the  works  of  the  Classical 
School;  still  another  is  basic  to  the  Romantic 
writers.  The  various  subjects  included  under 
Musical  Theory  are  not  inventions  for  student 
days.  They  are  the  gateways  by  which  one 
enters  upon  a  full  comprehension  of  what  the 
composer  says,  and  the  manner  of  his  saying  it. 
A  comparatively  small  amount  of  text-book  work 
is  essential,  but  a  never  ceasing  application  of  the 
few  fundamental  principles  is  necessary  to  every 
piece  of  music  one  sees  or  hears. 

The  teacher  who  has  been  obliged,  by  force  of 
circumstances,  to  begin  work  as  instructor  before 
fully  equipping  himself  in  this  subject,  may  be- 
lieve that  he  is  only  partly  capable  as  a  safe  guide 
to  the  learner,  and  also — that  it  is  never  too  late 
to  learn.  Its  indispensability  is  without  question. 
His  capacity  to  do  service  is  always  augmented  by 
the  attainment  of  a  better  equipment.  While 
the  preliminary  details  of  theory  are  to  be  learned 
by  persistent  study — just  as  we  learned  our 
Latin  Grammar,  their  application  in  real  music, 
the  music  we  play  and  teach,  is  always  possible 
and  delightful.  Facility  in  melody  writing,  in 
harmony,  and  counterpoint  is  comparatively 
soon  attained,  but  there  is  no  end  to  the  variety 
of  application  to  which  the  principles  of  these 
subjects  may  be  put.    They  become  the  means, 


MUSICAL  THEORY  63 

once  we  have  grasped  them,  of  looking  at  the 
composer's  work  from  his  standpoint,  out  of  his 
eyes,  so  to  speak. 

The  statement  has  been  made  that  unapplied 
harmony  and  counterpoint  are  all  too  prevalent 
in  music.  For  some  reason,  the  fault  either  of 
teacher  or  pupil,  the  facts  of  theory  are  not  al- 
ways made  the  facts  of  practice.  Again,  it  is 
necessary  at  times,  to  combat,  on  the  part  of 
certain  natures  too  complacent  to  be  fully 
aware  of  their  status  and  needs,  an  entirely 
erroneous  opinion  respecting  the  great  composer 
and  the  study  of  musical  theory.  He  has  never 
avoided  it,  but  has  pursued  it  with  vigor  until 
his  mastery  of  it — as  means  for  liberating  his 
thought — has  become  complete.  The  illustra- 
tion on  page  64  is  a  familiar  form  of  given 
bass — familiar  to  all  students.  If  anyone  suffers 
from  being  subjected  to  so  elementary  a  course 
of  training  let  him  take  courage  from  the  name  of 
the  student  at  the  bottom  of  the  page. 


64    THE  EDUCATION  OF  THE  MUSIC  TEACHER 


CHAPTER  VIII 


THE   PUPIL 


Every  pupil  is  an  individual  problem.  The 
object  of  all  instruction  is  to  pro\4de  the  learner 
with  a  physical  and  mental  technic  so  complete 
and  so  perfect  that  he  can  give  himself  expres- 
sion; or,  as  the  word  implies,  can  press  himself  out. 
As  no  two  human  beings  were  ever  cast  in  the  same 
mold,  or  ever  will  be,  the  responsibility  of  the 
teacher  toward  the  pupil  is  invariably  extensive. 
The  duty  involved  is  sacred,  for  its  object  is 
nothing  less  than  the  freedom  of  mind  and  spirit 
to  manifest  itself  through  a  body  so  perfectly 
trained  that  it  is  an  ever  ready  and  efficient 
servant. 

The  loftiest,  and  yet  the  most  natural,  view  we 
may  take  of  the  mind  is — as  we  have  already  im- 
plied— that  it  is  always  a  center  for  di\ane  opera- 
tion. If  the  teacher  holds  this  elevated  percep- 
tion of  his  own  mind,  he  must  by  the  law  of  human 
brotherhood  hold  it  of  the  pupil.  One  great  fault 
of  all  technically  applied  pedagogic  law  (and  pro- 
cedm-e)  is  that  it  has  so  "averaged"  humanity, 
that  no  real  and  vital  type  is  within  its  scope  of 
operation.     Hence,  it  is  essential  for  the  teacher 

5  65 


66    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

to  be  not  only  a  purveyor  of  information  to  the 
pupil,  but  a  careful,  watchful  student  of  the  in- 
dividuality that  is  locked  up  within  the  apparent 
personality.  Inefficient  teaching  always  follows 
if  this  attitude  be  renounced  or  ignored.  The 
pupil  may  have  little  or  no  talent  for  music.  That 
has  to  be  discovered.  And  this  discovery  is  only 
possible  after  the  teacher  has  made  it  his  business 
to  question,  observe,  and  sufficiently  stimulate 
the  human  sphinx  into  expression  that  it  shall 
reveal  itself. 

We  must  recognize  in  the  pupil  primarily  this 
stamp  of  quality,  this  soul  potentiality.  Often 
it  is  deeply  hidden  in  the  recesses  of  nature.  Ways 
and  means  peculiar  to  itself  must  be  found  to 
awaken  it  to  its  ultimate  potentiality.  Many  a 
boy  and  girl  have  remained  dunces  in  childhood 
because  they  did  not  respond  to  "average" 
methods.  Walter  Scott  was  the  dunce  of  his 
class.  Elizabeth  Carter,  whom  Dr.  Samuel 
Johnson  pronounced  one  of  the  few  really  great 
Greek  scholars  of  the  eighteenth  century,  was 
known  all  through  her  girlhood  as  "Stupid 
Elizabeth."  The  manner  and  method  of  teach- 
ing a  subject  is  simple  in  comparison  with  the 
preliminary  necessity  of  awakening  the  indi- 
vidual nature  to  be  taught. 

Every  human  being  is  not  only  a  unique  crea- 
tion, but  is  conditioned.  Conditions  spring  from 
more  causes,   possibly,  than  we  shall  ever  dis- 


THE  PUPIL  67 

cover;  but  of  these  any  instructor  can  readily 
investigate  to  a  sufficient  extent,  those  that 
spring  from  the  physical  and  mental  state,  from 
home  life,  from  other  activities,  from  individual 
likes  and  dislikes,  from  association  with  others. 
It  is  amazing  what  a  fund  of  valuable  informa- 
tion about  a  pupil  the  teacher  seems  never  to 
secure.  Many  a  child  is  put  before  the  piano 
and  Uves  unhappy  hours  for  no  fault  of  its  own. 
It  is  evident  that  for  some  reason  the  child  is 
not  expressing  itself  fully,  and  only  too  often  it  is 
dubbed  as  Elizabeth  Carter  was.  Albrechtsber- 
ger  found  nothing  in  Beethoven  that  was  worth 
his  trouble,  and  Kalkbrenner's  best  advice  to 
Chopin  was  that  he  should  place  himself  under 
his  (Kalkbrenner's)  instruction.  These  instances 
show  that  one  judgment  of  a  human  being  is  not 
always  sufficient  to  reveal  the  entire  potentiality. 
It  is  evident,  then,  that  music  teaching,  to  be 
justly  successful  in  each  individual  case,  must 
start  farther  back  than  the  five-key  position  at 
the  piano.  The  unsuccessful  pupil  is  often  only 
a  photograph  of  an  unskilled  teacher.  In  this 
connection,  every  music  teacher  may  profitably 
assist  himself  by  such  remarkably  suggestive 
books  as  Professor  William  James'  Talks  on 
Psychology  with  Teachers.  Such  a  text  is  il- 
luminating in  this,  that  it  takes  cognizance  of  the 
background  of  individuality.  When  we  stop  to 
consider  that  countless  human  beings  have  gone 


68    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

through  life  with  a  hampered  nature,  incapable 
of  giving  expression  to  themselves,  for  lack  of 
adequate  technical  means,  we  feel  that  we  are 
authors  of  one  of  the  greatest  crimes  in  history. 

A  well  known  teacher  of  voice  tested  a  new 
pupil  recently,  a  young  man  of  eighteen.  The 
voice  was  remarkable.  In  the  first  few  lessons 
the  boy  had  so  little  control  of  himself  that  he 
could  scarcely  sing  a  dozen  measures  without 
breaking  down.  The  teacher  made  no  comment, 
but  quietly  investigated  the  boy's  history  and 
condition.  He  had  not  far  to  seek,  for  he  dis- 
covered that  having  little  money,  and  a  great 
ambition  to  learn,  the  boy  was  attempting  to  live 
on  one  meal  a  day.  It  would  have  been  easy 
not  to  make  the  inquiry  and  equally  easy  to  dis- 
miss the  pupil  as  having  "not  sufficient  sustain- 
ing power."  But  it  was  far  better  to  procure  the 
boy  something  actually  capable  of  sustaining 
him. 

It  has  been  pointed  out  in  a  preceding  chapter 
that  all  rules  for  success,  as  given  by  eminently 
successful  men,  are  so  simple  that  no  one  takes 
them  seriously.  It  is  quite  the  same  with  failure. 
Countless  instances  of  failure  rest  on  causes  so 
simple  that  it  is  amazing  they  were  not  discov- 
ered in  time,  and  removed.  The  great  teacher  is 
never  a  mere  technician,  nor  is  he  a  potter  whose 
mold  casts  only  one  pattern.  He  is  always  a 
builder  of  individuality.     He  augments  the  opera- 


THE  PUPIL  69 

tive  power  of  the  mind  as  a  divine  center.  Work- 
ing with  this  inspiration,  the  mind  becomes  a 
willing  and  enthusiastic  center,  but  if  the  mind  be 
not  awakened,  learning  has  its  stupid  limits. 

The  Education  of  the  Music  Teacher,  in  this 
particular,  never  ceases.  The  pupil  who  comes 
to-morrow  for  the  first  time,  is  a  new  problem. 
Never  was  there,  and  never  will  there  be  another 
of  its  kind.  It  is  of  little  importance  what  par- 
ticular pianoforte  method  shall  be  applied  in  his 
case.  We  must  first  begin  to  liberate  and 
strengthen  what  was  implanted  here  by  the 
creative  fiat.  If  the  boy  were  a  loom  with  which 
we  hoped  to  do  our  weaving,  we  would  realize 
that  the  loom  as  a  machine  merits  study,  care, 
and  attention.  But  a  boy?  And  a  boy  such  as 
never  before  approached  us  for  instruction,  why 
should  we  give  him  so  little  regard? 

The  teacher  who  spends  a  portion  of  his  time 
in  acquainting  himself  with  the  educational  prin- 
ciples of  such  authorities  as  Pestalozzi,  Froebel, 
Horace  Mann,  and  Dr.  Montesorri,  will  find 
that  they  forever  regard  the  liberation  of  the 
spiritual  nature  and  the  freedom  of  intellectual 
expression  of  far  greater  importance  than  the 
principles  of  a  method.  They  have  realized  that 
all  of  the  activities  of  life  are  worthy  material  to 
engage  the  attention  once  we  comprehend  the 
nature  and  strength  of  the  individual.  Hence, 
Pestalozzi  says: 


70    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

"The  will  cannot  be  stimulated  by  mere  words. 
Its  action  must  depend  upon  those  feelings  and 
powers  which  are  the  results  of  general  culture. 
Words  alone  cannot  give  us  a  knowledge  of 
things.  They  are  only  useful  for  giving  ex- 
pression to  what  we  have  in  our  mind." 

Speaking  of  his  early  attempts  with  children  at 
awakening  the  desire  for  knowledge,  he  says: 

"As  soon  as  they  found  that  they  could  learn, 
their  zeal  was  indefatigable;  and  in  a  few  weeks 
children  who  had  never  before  opened  a  book,  and 
could  hardly  repeat  the  Pater  noster  or  an  Ave, 
would  study  the  whole  day  long  with  the  keenest 
interest.  After  supper,  when  I  used  to  say  to 
them,  'Will  you  go  to  bed,  or  learn  something?* 
they  would  generally  answer :  'Learn  something !'  " 

Of  his  procedure,  he  tells  us  that: 

"I  gave  the  children  very  few  explanations.  I 
taught  them  neither  morality  nor  religion,  but 
sometimes,  when  they  were  perfectly  quiet,  I 
used  to  say  to  them:  'Do  you  not  think  you  are 
better  and  more  reasonable  when  you  are  like 
this,  than  when  you  are  making  a  noise?' 

"What  encouraged  them  most  was  the  thought 
of  not  always  remaining  poor,  but  at  some  day 
taking  their  place  again  among  their  fellows,  with 
knowledge  and  talents  that  should  make  them 
useful,  and  win  them  the  esteem  of  other  people. 
They  felt  that,  owing  to  my  care,  they  made  more 
progress    in    this    respect    than    other    children. 


THE  PUPIL  71 

They  perfectly  understood  that  all  they  did  was 
but  a  preparation  for  their  future  activity,  and 
they  looked  forw^ard  to  happiness  as  the  certain 
result  of  their  perseverance.  That  is  why  steady 
application  soon  became  easy  to  them,  its  object 
being  in  perfect  accordance  with  their  wishes  and 
their  hopes." 

With  all  great  teachers  it  will  be  found  that 
what  we  have  already  referred  to  as  the  "libera- 
tion of  the  individuality"  comes  first.  Not 
money  precedes  this;  nor  personal  ambition,  nor 
skilful  advertising;  but  the  one  essential  effort 
of  becoming  the  faithful,  capable,  and  willing 
serv^ant  to  the  child-mind,  which  shall  one  day 
become  the  adult  mind,  doing  its  share  to  carry 
forward  the  real  purposes  of  life.  And  these 
"real  purposes"  are  ours  to  discover,  and  to 
estabUsh. 


CHAPTER  IX 

MUSIC   HISTORY  AND   BIOGRAPHY 

The  history  of  music  is  the  story  of  how 
human  thought  has  learned  to  express  itself  in 
tones:  exactly  the  problem  the  teacher  is  solving 
with  every  pupil  that  he  instructs.  This  identity 
of  experience  between  the  race  as  a  whole,  and 
the  individual,  establishes  the  necessity  for  in- 
cluding the  subject  of  this  chapter  in  the  list  of 
those  that  are  indispensable  to  the  education  of 
the  teacher. 

The  facts  of  musical  history  fall  into  two  classes. 
The  first  are  those  of  lesser  importance;  facts  of 
reference  that  may  safely  be  entrusted  to  the 
keeping  of  a  book  in  which  w^e  may  find  them 
when  needed.  The  second  class  of  facts  are  of 
prime  importance.  They  consist  in  those  deep 
undercurrents  that  show  whence  comes  the 
stream  into  visibility  in  our  day.  These  are 
invariably  to  be  connected  more  or  less  directly 
with  concurrent  events  of  social  and  political 
life.  Thus,  music  in  any  period  of  history  is 
always  found  to  be  a  true  index  of  the  mind  of 
the  people. 

72 


MUSIC  HISTORY  AND  BIOGRAPHY  73 

So  far  as  we  possess  actually  recorded  music  in 
our  system  of  notation,  just  so  far  we  know  how  it 
sounded  to  those  who  first  uttered  it.  But 
farther  back  than  that,  all  is  conjecture.  The 
music  of  the  ancient  nations  is  entirely  beyond 
our  conception.  We  cannot  conceive,  even  re- 
motely, what  sort  of  music  was  played  upon  the 
harp  to  the  delight  of  King  David.  The  songs 
of  the  minstrels  whom  we  meet  in  the  Odyssey 
are  as  mysterious  as  the  personahty  of  Homer 
himself.  But  if  the  melodies  that  delighted  the 
people  of  the  elder  nations  are  gone,  the  record  is 
left  to  us  in  many  forms  of  testimony  that  they 
loved  music,  practised  it  for  pleasure,  and  made 
it  an  important  part  of  all  social  and  religious 
life. 

With  the  establishment  of  the  Christian  religion 
in  Europe,  music  was  actively  practised  in  two 
widely  separated  social  strata:  in  the  monas- 
teries it  received  all  the  learned  consideration  that 
scholars  could  give  it;  among  the  people  it  was 
as  spontaneous  and  as  expressive  of  the  daily  life 
as  it  was  when  ]Miriam  danced.  The  awakening 
of  the  mind  to  the  great  truths  of  life,  the  gradual 
surrender  of  mysticism  and  of  magic  before  the 
discoveries  of  scientists  and  explorers,  were  as 
truly  reflected  in  music  as  they  were  in  life  itself. 
The  Crusades  made  men  of  many  nations  friends 
and  companions  in  a  common  cause,  and  they 
learned  the  arts  of  one  another.     Finally  the  sa- 


74    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

cred  and  secular  streams  united  into  a  single  great 
body  of  thought  expression  that  has  widened 
and  deepened  to  our  own  day. 

No  work  of  any  old  master  is  odd  or  old  fash- 
ioned the  moment  we  are  familiar  with  the  condi- 
tions out  of  which  it  came.  Just  as  the  literature 
of  to-day  is  tinged  with  Greek  culture,  so  music 
is  a  tapestry,  the  threads  of  which  lead  back 
many  centuries.  If  the  teacher  be  a  close 
reader  of  history  in  general,  the  story  of  music 
will  take  on  a  new  and  surprisingly  delightful 
aspect.  And  so  will  music  itself,  however  old 
it  may  be. 

Emerson  pointed  out,  over  half  a  century  ago, 
the  essential  fact  of  all  history  to  the  reader; 
namely,  that  it  should  enable  him  to  turn  the 
Past  (the  There  and  Then,  as  he  expresses  it) 
into  the  Present  (or  the  Here  and  Now).  Read 
in  this  light,  all  the  figures  of  history  become  a 
part  of  the  individual.  To  know  the  story  of 
the  life  of  Bach  is  to  enter  into  his  mode  of  life, 
of  his  thought  and  environment  precisely  as  if 
he  were  existent  for  us  Here  and  Now.  To  attain 
this  identity  with  the  Past  comes  more  naturally 
from  the  preliminary  study  of  Biography  than  of 
history  in  events,  for  the  reason  that  events  evolve 
from  the  impulses  of  men.  Hence,  a  technic  for 
reading  biography  is  necessary. 

To  begin  with,  every  biography  must  be 
regarded  as  the  center  of  an  area,  and  not  as  a 


MUSIC  HISTORY  AND  BIOGRAPHY  75 

straight   line.     The    following   figure    will    illus- 
trate this: 


Of  the  man  himself,  we  gradually  construct  a 
complex  environmental  portrait  into  which  we 
put  his  ancestry,  individual  activity,  family 
life,  positions,  personal  characteristics,  spoken 
words  and  the  like.  The  space  called  Con- 
current Events  informs  us  of  the  world's  doings 
in  his  time.'  His  contemporaries,  musical  and 
otherwise,  allow  us  to  perceive  him  as  one  world's 
worker  among  many.  Under  Spirit  of  the 
Times  we  include  the  unity  of  thought  expres- 
sion that  remains  to  us  now  as  the  key  to  that 


76    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

intellectual  era.  And,  finally,  under  Individual 
Influence  we  read  in  what  wise  this  particular 
individuality  so  impressed  itself  on  the  times 
that  its  influence  reaches  to  this  day. 

Even  so  slight  suggestion  as  this  prepares  us 
to  proceed  in  all  biographical  reading  with  a 
definite  system  that  secures  for  us  the  picture,  as 
we  have  said,  oj  an  area  oj  influence,  and  not  an 
unrelated  point  or  line.  All  history  and  biog- 
raphy are  essentially  the  presentation  of  widely 
extending  influences.  The  preliminary  facts  may 
be,  in  general,  referred  to  in  these  items.  (This 
forms  a  Basis  of  procedure  with  each  biography :) 

1.  Place  of  birth. 

2.  Boyhood  and  early  training. 

3.  Determining  influences. 

4.  Young  manhood. 

5.  Places  of  residence  and  musical  connections. 

6.  Works  in  sequence. 

7.  Works  that  have  endured. 

8.  Works,  a  knowledge  of  which  is  indispen- 
sable to  an  appreciation  of  the  man. 

9.  Temporary  and  subsequent  influence  of  the 
man. 

10.  The  personal  factor  in  the  biography. 
Consequent  upon  this,  we  find  a  Basis  of  more 
special  study  in  these  items : 

1.  What   did  the   man  accomplish  that  lifts 
him  above  the  conventional? 

2.  What  forms  did  he  establish  or  perfect? 


MUSIC  fflSTORY  AND  BIOGRAPHY  77 

3 .  Which  of  his  works  do  you  know  intimately  ? 

4.  Which  are  frequently  performed? 

5.  Which  are  the  most  characteristic? 

6.  What   general   conditions  of  life  were   un- 
known at  the  time,  e.  g.,  of  Bach? 

7.  What  evidence  is  given  of  initiative? 

8.  The  character  of  the  man.     Do  his  works 
reflect  that  character? 

9.  Methods  of  work. 

10.  Necessary  bibliography. 

Similarly,  all  periods  in  history  (that  is,  not 
necessarily  biographical)  may  be  so  grouped  and 
analyzed.  From  this  the  teacher  will  see  that 
there  is  no  rapid  way  of  completing  a  course 
in  the  history  of  music.  We  are  really  painting 
a  large  canvas  around  ourselves  as  center,  and 
to  an  extent,  so  establishing  ourselves  in  the 
Past  and  Present  that  we  can  estimate  the  work 
of  our  own  day  in  its  Future  influence.  This  is 
one  element,  active  in  the  most  direct  way,  that 
makes  for  Service  which  shall  be  more  than  a 
temporary  exchange. 

The  aim  in  teaching  is  to  secure  an  expression 
in  the  present  moment  of  the  whole  spirit  of  the 
art.  Of  this  spirit,  history  and  biography  furnish 
us  the  key.  The  simplest  Sonatine  is  as  directly 
connected  with  the  historic  establishment  of  the 
Sonata  form  as  a  leaf  is  intimately  connected  with 
the  roots  of  the  tree  on  which  it  lives.  Thus  with 
the  lesson  so  based,  the  whole  spirit  must  flow  as 


78    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

naturally  as  the  food  found  in  the  earth  by  the 
roots  is  ceaselessly  making  its  way  up  to  the  leaf. 

The  teacher  will  not  fail  to  note  that  in  this 
attainment  there  is  involved  no  small  amount 
of  work.  To  secure  this  point  of  view  of  the 
spirit  of  the  whole  does  not  come  all  at  once. 
So  here  again,  the  decision  is  easy  to  let  it  go; 
to  avoid  the  work  and  the  trouble,  and  let  the 
spirit  take  care  of  itself.  It  always  will.  But 
it  is  a  wise  decision  to  let  the  spirit  take  care  of  us 
at  the  same  time.  We  live  and  are  rewarded 
strictly  in  accord  with  our  perceptions.  The  less 
we  are  willing  to  perceive,  the  less  we  are. 

Involved  in  the  attainment  of  any  subject  is 
the  technic  of  reading  that  gives  us  admission  to 
it.  This  technic  may  be  summed  up  in  a  single 
sentence:  An  author's  words  are  intended  to 
convey  meaning,  and  a  reader's  duty  is  to  secure 
the  whole  of  that  meaning.  Of  all  things  un- 
familiar to  the  majority  of  us,  words  are  among 
the  first.  A  proper  and  thorough  study  of  them 
rewards  us  in  two  ways.  In  the  first,  we  actually 
learn  to  read  understandingly;  in  the  second,  we 
learn  so  to  express  ourselves  that  the  mental  pic- 
ture which  we  are  attempting  to  present  becomes 
clear  and  vivid  of  outline  to  the  Hstener.  If, 
then,  close  and  accurate  reading  does  no  more 
for  us  than  to  enable  us  to  tell  a  child  clearly, 
accurately,  and  vitally  what  we  mean,  it  will  still 
be  a  great  investment. 


MUSIC  HISTORY  AND  BIOGR.\PHY  79 

Hence,  readings  in  Music  History  and  Bi- 
ography give  us  not  only  enlightening  informa- 
tion, but  they  may  be  made  to  contribute  to 
cultural  attainment,  at  the  same  time.  The 
history  of  an  art  or  of  a  people  is  as  a  watch- 
tower,  to  ascend  which  gives  one  not  only  a 
broader  field  for  observation,  but  makes  clear 
the  interrelation  of  all  the  apparently  separate 
units.  Strictly  speaking  there  is  no  separation 
even  in  parts  that  seem  widely  divergent  as  his- 
toric subjects.  They  all  coalesce  to  establish 
the  unity  of  life  as  it  was,  and  hence  they  preserve 
that  unity  in  becoming  the  key  to  life  as  it  is. 


CHAPTER  X 


MUSIC  IN  THE  HOME 


Every  child  is  a  .  potential  in  two  homes : 
that  of  its  actual  childhood,  and  of  that  other, 
yet  to  be,  when  it  shall  establish  itself  as  maker 
and  fomider  of  another  family-unit  in  the  national 
life. 

It  was  pointed  out  in  a  previous  chapter  that 
the  music  teacher  is  a  dealer  in  futures.  This 
point  of  view  in  regard  to  the  child  as  home- 
maker  is  one  instance.  This  the  music  teacher 
shares  with  all  other  teachers;  in  that  he  helps  so 
to  train  and  develop  that  the  impulses  and  ex- 
pressions of  early  years,  shall  be  the  ampler  im- 
pulses and  expressions  of  later  life.  No  child- 
hood experience  so  rich  as  music  can  be  made 
should  be  a  diminishing  or  disappearing  influence. 
Writers  without  number  have  testified  to  the 
value  of  music  as  an  inspiration  in  the  home  and 
in  the  individual  life.  Many  a  hardened  sinner 
has  come  back  repentant  at  the  sound  of  a 
melody  from  the  distant  years  of  early  life. 
Such  instances  are  not  sentimental,  but  they  are 
full  of  true  sentiment,  at  once  virile,  vigorous,  and 
vital. 


80 


MUSIC  IN  THE  HOME  8l 

If,  in  the  teaching  of  children,  we  cannot  exert 
an  influence  that  carries  itself  forward  with 
greater  momentum  as  the  years  pass,  we  should 
once  more  look  over  our  method  and  system,  our 
purposes  and  intentions,  and  return  to  the  broad 
highway  where  music  is  a  human  influence. 

There  are  very  many  musical  homes  in  which 
the  little  ones  who  are  "taking  lessons,"  receive 
instruction  in  a  manner  that  fails  to  distill  a  de- 
lightful essence  into  the  home  life.  It  is  often 
true  that  the  average  practice  hour,  particularly 
in  the  beginning,  is  not  one  of  joy.  But  why  is 
it  not?  The  more  closely  we  investigate  the 
work  of  distinctive  teachers,  the  more  we  find 
that  elementary  as  any  step  may  be,  it  abounds 
in  interest.  A  distinguished  merchant  has  said 
that  what  most  people  do  most  of  the  time  is 
wrong.  It  certainly  needs  no  argument  to  con- 
vince us  that  what  we  do  most  of  the  time  can 
be  better  done. 

The  two  distinct  classes  of  pupils  determine  two 
distinct  objectives.     They  are : 

(a)  Those  who  are  studying  with  the  intention 
of  making  music  a  life  work. 

(b)  Those  who,  as  amateurs  (lovers)  seek  in  it 
a  means  for  cultural  attainment  and  advance- 
ment. 

Every  teacher,  however,  will  at  once  recognize 
a  third,  and  probably  inevitable,  class. 

(c)  Those  who  study  not  because  of  any  per- 


82    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

sonal  desire,  but  at  the  will,  or  behest,  of  some- 
one else. 

This  last  class  is  the  taost  difficult  to  deal  with, 
and  often  the  source  of  the  least  satisfaction  to  the 
teacher.  But  skill,  tact,  and  many  resources 
must  enable  the  teacher  to  establish  for  the 
second  and  third  classes  of  pupils,  and  for  the 
home  life  of  which  they  are  members,  some- 
thing of  interest  to  all,  and  particularly  worth 
while  to  the  student. 

The  pupil  should  inspire  the  teacher  to  under- 
take the  upbuilding  of  musical  taste  and  interest 
in  the  particular  home  of  which  the  pupil  himself 
is  a  member.  There  is,  no  doubt,  far  more 
trouble  involved  in  this  than  in  giving  the  lesson 
and  leaving  the  family  to  take  or  leave  the 
musical  opportunity.  But  there  is  also  a  vast 
amount  of  satisfaction  in  it.  A  deepening  of 
interest  in  music  is  always  to  the  teacher's  benefit, 
but  it  also  results  in  a  mutual  benefit.  The 
introduction  of  music  into  the  home  through  the 
advent  of  the  music  teacher,  should  be  regarded 
as  a  significant  event.  The  child  is  to  be  taught 
to  play,  but  the  rest  of  the  family  may  tactfully 
be  taught  to  enjoy.  The  capacity  for  the  enjoy- 
ment of  music  is  inherent  in  practically  all  hu- 
man beings.  There  has  probably  never  been  a 
savage  race  discovered  that  had  not  its  music. 
The  establishment  of  music,  in  the  curriculum  of 
the  public  schools,  is  based  on  the  wise  decision 


MUSIC  IN  THE  HOME  83 

to  awaken  an  interest  in  it,  and  to  foster  a  love  for 

it,  that  shall  be  carried  into  after  life  as  a  contribu- 
tion to  the  full  round  of  citizenship. 

And  yet  we  make  too  little  out  of  the  imme- 
diate benefits  of  music  in  the  home.  Where  there 
is  a  piano,  there  we  may  look  for  rich  possibilities 
for  the  children.  If  they  do  no  more  than  to  learn 
the  familiar  songs  that  have  endured  because 
they  are  true  of  sentiment,  it  will  enrich  the  family 
life  to-day,  and  the  child's  life  when  he  becomes 
a  home-founder.  To  sing  and  play  and  dance 
in  childhood  is  a  fair  insurance  that  to  sing  and 
play  and  dance  will  add  joyance  to  the  length  of 
life.  It  is  in  this  sense  that  the  cultural  study  of 
music  becomes  an  investment  of  high  order.  No 
man  who,  now  and  then,  hums  the  melodies  of  his 
boyhood,  need  be  mistrusted.  It  has  been  well 
said  that  there  can  be  nothing  wrong  in  the 
heart  of  one  who  sings  spontaneously. 

Hence,  music  should  enter  the  home  to  its 
enrichment.  The  teacher  is  poorly  equipped  in 
the  ethics  of  the  profession  who  does  not  per- 
ceive this  essential  and  elevated  spirit  of  the  art 
when  presented  to  a  little  child. 

The  mission  of  music  is  often  humble,  but  it  is 
no  less  genuine  for  that  reason.  A  true  story  of 
the  discovery  of  two  settlement  workers  will 
illustrate  this: 

Two  young  ladies  who  had  been  chums  for 
four   years    at    a    well-known    college,    sat,    one 


84    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

afternoon,  discussing  their  life  work.  They  were 
wealthy,  but  they  did  not  wish  to  be  idle  or  use- 
less; hence  they  were  seeking  an  outlet  for  an 
activity  that  would  better  the  world,  and  occupy 
themselves. 

"Well,  then,"  said  one,  in  conclusion,  "let  us 
agree  to  devote  ourselves  to  settlement  work. 
And  we  begin  to  morrow." 

So,  on  the  morrow,  they  proceeded  to  what 
was  to  them  the  vague  land  of  the  unknown,  the 
East  Side.  They  scrutinized  the  streets  carefully 
as  they  went,  and  finally  stopped.  They  had 
reached  a  thoroughfare  which  seemed  to  them 
to  offer  all  the  signs  and  symbols  of  a  "real  slum 
street." 

Now,  there  are  facts  about  "a  real  slum  street" 
that  do  not  at  once  appeal  to  a  wealthy  college 
girl  who  sets  out  to  do  good  in  the  world. 

These  facts  are: 

People  live  in  such  streets  who  work,  and 
hope,  and  love  one  another ;  these  people  are  often 
very  happy.  They  persist  in  living,  though  all 
the  books  on  hygiene  would  seem  to  prove  that 
they  ought  to  die  from  the  microbes  of  the 
neighborhood. 

But  they  do  not  die. 

They  drink  water  from  the  kitchen  tap.  They 
breathe  air  that  is  not  always  free  from  offensive 
street  odors.  Yet  one  witnesses  there,  no  less 
often  than  elsewhere,  the  clear  eye,  the  cheery 


MUSIC  IN  THE  HOME  85 

voice,  the  hearty  hand  grasp  when  friend  meets 
friend;  in  brief,  life  displays  itself  and  is  no  less 
jealously  guarded  for  its  possibilities. 

Their  plan  of  operation  was  this:  Each  should 
take  one  side  of  the  street,  visit  every  family, 
and  report. 

The  report,  when  the  work  was  done,  presented 
many  interesting  things,  none  of  which  seemed 
easy  to  change,  save  one.     This  was  Mrs.  Ryan's 

case. 

Now,  the  condition  of  affairs  at  Mrs.  Ryan's 
gave  the  elder  of  the  girls  cause  for  great  alarm. 
So  great  was  it  that  she  determined  to  "have  it 
out  with  her." 

The  case  was  this:  Mrs.  Ryan  owed  the 
butcher,  and  others,  Thirty  Dollars,  and  yet 
owned  a  piano. 

So  she  had  it  out  with  Mrs.  Ryan. 
Mrs.    Ryan    was    singularly    quiet    while    she 
listened   to   the   young   woman.     When   it   was 
pointed  out  to  her  that  the  piano  would  pay  all 
her  bills,  if  sold,  she  was  not  excited. 

Finally  the  young  lady  stopped.  Her  case 
was  in. 

"Is  that  all.  Miss  Astoria?"  asked  Mrs.  Ryan. 
"If  it  is,  you  Usten  to  me  a  minute." 

She  listened  quite  a  few  minutes,  in  fact;  and 
this  is,  in  substance,  what  Mrs.  Ryan  said: 

"I  have  five  children,  three  boys  and  two  giris. 
They  all  love  entertainment.     Across  the  street 


86    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

live  two  girls,  who  have  been  in  trouble  by  being 
out  on  the  streets  late  at  night.  Two  boys  of  a 
family  east  of  here,  have  been  arrested.  I 
could  tell  you  lots  of  other  families  whose  children 
have  been  in  one  scrape  or  another.  But  none 
of  mine  has  been  in  any  scrape.  Do  you  know 
why? 

"When  I  was  a  girl,  I  learned  to  play  the 
piano  a  little.  I  play  for  the  children  and  their 
friends  every  night.  I've  scraped  together  enough 
to  let  the  two  girls  learn  a  Httle  music  them- 
selves. The  boys  learn  to  sing  in  school,  and 
I  let  all  five  bring  their  friends  here  every  night 
and  Sundays  and  have  a  good  time  with  the 
piano. 

"Sometimes  Benny  Soloski  brings  his  fiddle, 
and  you  ought  to  see  them  dance.  They  are 
noisy  perhaps.  Miss  Astoria,  but  they  are  noisy 
in  the  house.  I  don't  have  any  bad  dreams 
about  my  children,  or  their  friends,  going  to  the 
Island. 

"Casey,  the  poHceman,  never  comes  here  to 
ask  what  the  boys  have  been  up  to.  But  I've 
often  seen  him  stand  outside  beating  time  with 
his  stick  on  the  railing,  while  he  listened  to  the 
music." 

Then  she  looked  Miss  Astoria  in  the  eye,  and 
said  very  quietly: 

"Shall  I  be  selling  the  piano,  do  you  think?" 

No  answer. 


MUSIC  IN  THE  HOME  87 

"Shall  I  be  selling  it?"  repeated  Mrs.  Ryan. 

Miss  Astoria  was  seeing  light. 

"I'll  tell  you  what  we  will  do,  Mrs.  Ryan.  Let 
me  pay  the  Thirty  Dollars." 

"No,  bless  you,"  said  Mrs.  Ryan.  "The  two 
boys  have  just  gone  to  work,  and  with  what  I 
earn  myself,  we'll  make  up  that  thirty  dollars. 
Good-by,  Miss  Astoria,  you'll  be  coming  again, 
I  hope." 

There  is  a  wonderful  lot  of  good  done  by  the 
settlement  workers.  And  there  is  a  wonderful 
lot  of  real  life  Uved  in  the  tenements.  The  good 
intent  of  the  one,  and  the  reality  of  the  other 
must  always  join  hands;  otherwise,  we  do  not 
read  Mrs.  Ryan  with  an  understanding  heart. 

The  great  work  of  redemption  rarely  comes 
from  giving.  It  comes  from  awakening  knowl- 
edge and  understanding  in  the  other  person. 

That  is  what  Mrs.  Ryan  did  for  Miss  Astoria. 

Do  not  mistake  this  conclusion: 

Mrs.  Ryan  was  the  settlement  worker. 

There  is  a  far-reaching  suggestion  in  the  fact 
that  music  is  practically  the  only  art  that  per- 
mits many  to  participate  in  it  at  once. 

A  schoolroom  of  singing  children  is  one  of  the 
most  wonderful  sights  of  our  day.  Music  is  the 
only  thing  taken  from  school  to  home  that 
allows  ever>^  one  to  take  part  in  it.  It  is  the  one 
art  that  a  girl  and  boy  can  practise,  if  they  love 
it,  in  chorus.     It  is  the  one  art  that  every  com- 


SS    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

munity,  even  the  small  town,  can  take  up  and 
develop.  Many  such  towns  all  over  the  United 
States  have  done  this,  and  from  the  excellence 
of  their  singing  they  have  become  enthusiastic 
lovers  of  music. 

A  hundred  may  sit  at  a  lecture,  and  ninety 
may  sleep  while  the  lecture  goes  on;  but  if  a 
chorus  of  a  hundred  sing,  no  one  of  them  can 
sleep.  They  must  keep  awake  and  do  each  his 
part,  for  without  each  and  every  part  the  whole 
is  not  perfect. 


CHAPTER  XI 

MECHANICAL  MUSICAL  INSTRUMENTS 

Many  years  ago  when  machinery  was  intro- 
duced to  perform  work  that  had  hitherto  been 
done  by  hand,  there  was  dissatisfaction  that  even 
went  so  far  as  to  express  itself  in  bloodshed. 
People  saw  themselves  thrown  out  of  employ- 
ment and  left  to  want  and  misery.  But,  as  a 
matter  of  fact,  with  increased  means  for  produc- 
ing goods,  there  was  created  an  increased  demand, 
and  a  spread  of  manufactured  articles  to  an  ever- 
increasing  public.  Thus,  machinery  has  sim- 
plified the  production  of  goods,  augmented  the 
supply  and  demand,  produced  them  at  less  cost, 
popularized  them,  and  has  tended  to  increase  and 
not  to  decrease  the  amount  of  labor  and  the 
number  of  laborers. 

In  like  manner,  the  advent  of  the  mechanisms 
capable  of  reproducing  music  with  some  degree 
of  merit,  immediately  raised  the  question:  Will 
they  decrease  the  study  of  music?  We  have  had 
these  various  mechanisms  with  us  long  enough 
now  to  know  (i)  that  they  have  come  to  stay; 
(2)  that  some  of  them  are  capable  of  artistic  repro- 
duction of  music;  (3)  that  they  are  carrying  the 

89 


90    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

message  of  music  to  thousands  of  homes  that  be- 
fore were  entirely  without  it;  (4)  that  the  music 
propaganda  being  accomphshed  by  this  means  is 
actually  increasing  our  national  interest  in  music, 
and  is,  therefore,  to  affect  music  study  favorably; 
that  is,  to  increase  it. 

The  millions  of  dollars  invested  in  the  mechan- 
ical music-reproducing  business  are  not  expended 
by  manufacturing  companies  merely  in  the  com- 
mercial exploitation  of  their  product  for  profit. 
Many  companies  maintain  expensive  laboratories 
in  which  nothing  else  is  attempted  save  the  im- 
provement of  the  product.  When  a  trifling  de- 
vice, or  one  that  results  in  an  improvement 
scarcely  perceptible  to  the  public,  is  found,  it  is 
adopted,  and  though  it  may  have  cost  thousands 
of  dollars,  it  can  secure  for  the  promoter  nothing 
beyond  improved  goods  and  greater  public 
satisfaction. 

These  mechanisms  are  not  enemies  or  serious 
rivals  of  the  music  teacher.  They  are  allies  in 
many  ways.  To  begin  with,  they  are  by  no 
means  to  be  despised.  As  permanently  recorded 
interpretations  they  have,  at  once,  historic  value 
of  prime  importance.  The  great  soloists  of  the 
past,  Hke  Liszt,  Jennie  Lind,  Malibran,  and 
Mario,  are  only  a  memory  to  a  few,  and  not  even 
that  to  the  younger  generation.  Had  we  the 
recorded  interpretation  of  these  artists  and  of 
their  own  works  by  the  great  composers  of  the 


MECHANICAL  MUSICAL  INSTRUMENTS      91 

past,  we  should  possess  a  treasure  beyond  ade- 
quate valuation. 

No  child  of  coming  generations  will  be  without 
fairly  definite  evidence  of  the  reproductive  art 
of  Bonci,  Caruso,  Ysaye,  Kreisler,  Hofmann, 
Sembrich,  and  all  the  great  company  of  present 
day  artists.  No  one  can  deny  the  inestimable 
value  of  this.  To  some  extent,  at  least,  the  future 
reader  of  the  biography  of  Mr.  Paderewski  can 
determine  for  himself,  in  another  department  of 
his  library,  the  nature  of  the  art  of  this  remark- 
able man.  Recently  a  musician  familiar  with  the 
older  school  of  violin  playing  stated  that  no 
soloist  of  to-day  approached  those  of  his  own 
youth,  a  statement  that  is  absolutely  incapable 
of  demonstrable  proof.  But  the  artists  of  to-day 
may  be,  as  performers,  compared  with  those  of  all 
generations  to  come,  and  with  certain  allowances 
for  mechanical  imperfection,  be  permitted  to 
state  their  own  claims  to  greatness.  One  mechan- 
ical piano  mechanism  not  only  reproduces  the 
music  performed  upon  it,  but  faithfully  records 
all  the  individual  characteristics  of  the  per- 
former. Its  ofi&ce  is  not  merely  to  record  sound, 
but  it  photographs,  so  to  speak,  without  losing 
the  sHghtest,  most  delicate  nuance,  the  actual 
individualization  of  the  artist. 

The  service  that  every  artistically  recorded 
performance  is  to  render  for  future  generations 
will  be  great ;  and  so,  too,  is  its  value  to  us.     There 


92    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

are  in  the  United  States  fifteen  millions  of  homes, 
approximately.  In  order  that  music  might  be 
an  integral  factor  of  domestic  life,  there  would 
need  to  be  not  only  fifteen  millions  of  music 
students,  but  fifteen  millions  with  talent  above 
the  average.  In  families  in  which  there  are  no 
children,  or  to  which  a  music  teacher  is  not 
available,  the  mechanical  instrument  is  a  de- 
cided pleasure  and  benefit. 

Unfortunately,  little  has  been  done  by  the 
manufacturers  of  these  instruments  beyond  es- 
tablishing commercial  means  for  producing  the 
goods.  Their  wide-reaching  cultural  value,  once 
they  are  in  the  home,  has  only  been  remotely  sug- 
gested. But  when  this  is  an  accomplished  fact, 
we  may  confidently  look  for  a  vast  amount  of  real 
culture  to  evolve  from  these  inventions. 

Hence,  these  various  mechanisms  are  with  us 
to  stay,  and  it  is  just  as  well  to  reckon  with  them 
now.  We  have  said  they  are  an  ally  to  the 
teacher.  In  what  particulars?  The  teacher  who 
complained  about  a  new  pupil  that  he  had  been 
in  the  habit  of  "picking  out  tunes  by  ear  with  one 
finger,"  overlooked  the  fortune  in  hand.  The 
boy  who  will  do  that  is  a  veritable  prize,  and 
should  be  welcomed  with  open  arms.  He  has 
been  seeking  the  very  things  that  are  not  aroused 
in  the  majority  of  boys  without  threats,  plead- 
ings, and  punishments.  In  the  same  light  we 
may  regard  the  advent  of  almost  any  kind  of 


MECHANICAL  MUSICAL  INSTRUMENTS      93 

mechanical  music  in  the  home.  It  is  a  good  sign 
to  begin  with.  Once  it  is  thus  accepted,  the 
serious  study  of  music  may  be  expected  to  follow 
with  less  necessary  argument  than  were  it  not 
there. 

One  teacher,  of  piano,  anxious  to  increase  her 
class,  made  it  a  point  to  help  those  who  had  a 
mechanical  instrument,  of  any  kind,  to  secure  the 
most  artistic  results  from  it.  She  had,  herself,  an 
instrument  upon  which  she  played  various  kinds 
of  music  that  are  not  naturally  adapted  to  the 
piano;  she  gave  talks  about  the  music  itself,  and 
about  the  artists  whose  music  she  was  reproduc- 
ing. 

But  these  "machines"  are  not  to  be  regarded 
merely  as  another  means  for  "prying  open  a 
little  business,"  as  someone  expressed  it.  They 
often  have  great  value  as  models  of  perform- 
ance. The  day  will  come  when  the  teacher 
will  say: 

"Let  us  see  how  great  artists  have  interpreted 
this  phrase."  And  thereupon  he  will  turn  to  the 
recorded  music  and  reproduce  it,  just  exactly  as 
he  would  turn  to  his  dictionary  for  enlighten- 
ment about  a  word;  or  to  an  encyclopedia  for 
information  by  a  great  authority  on  a  special 
subject. 

The  advent  of  music  mechanisms  in  schools  is 
already  proving  of  practical  utility.  They  are 
being   used   for    Listening   Lessons,    Studies   in 


94    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

Appreciation  and  Interpretation,  for  Marching, 
and  for  Folk  Dancing.  A  recent  news  dispatch 
from  a  city  in  the  Middle  West  states  that  to  the 
public  library  there  have  been  added  five  hundred 
music  selections  for  player  piano.  The  librarian 
announces  that:  "The  music  is  circulated  under 
the  rules  governing  the  taking  out  of  books." 
And  he  adds:  "The  pieces  (music)  are  mostly 
classical.  Ragtime  is  barred.  We  have  no  rag- 
time books,  so  why  should  we  circulate  ragtime 
music?" 

Interviews  with  owners  of  mechanical  musical 
instruments  have  revealed  the  fact  that  many  of 
them,  the  majority  in  fact,  made  their  first  pur- 
chases of  music  of  the  popular,  or  semi-popular 
kind,  but  that  they  gradually  eliminated  this 
class  and  turned  to  the  better  compositions.  If 
this  be  generally  true,  we  can  only  conclude  that 
this  particular  phase  of  home  music  is  valuable  in 
the  extreme.  What  is  still  wanting,  however,  is 
some  helpful  means,  simply  written,  that  wiU 
permit  the  non-technical  music  lover  to  under- 
stand a  little  more,  and  yet  a  little  more,  the 
music  he  enjoys.  This  has  never  been  adequately 
done  in  printed  matter — probably  it  has  never 
even  been  attempted.  It  is  a  form  of  service  well 
within  the  province  of  the  teacher,  and  he  by  no 
means  demeans  himself  in  explaining  to  the 
uninitiated  the  beauty  of  music,  even  if  it  be  pro- 
duced by  a  series  of  wheels  and  springs. 


MECHANICAL  MUSICAL  INSTRUMENTS      95 

In  connection  with  the  report  on  the  Ubrary 
above  mentioned,  it  is  worthy  of  record  that 
another  hbrary  has  a  music  room,  a  player  piano, 
and  a  collection  of  rolls  that  may  be  performed  by 
visitors.  Far  from  meriting  the  scorn  and  un- 
concern of  musicians,  these  devices  are  worthy 
of  their  careful  consideration.  Often  they  prove 
remarkably  helpful,  as  is  instanced  by  the  young 
pianist  who  had  worked  up  a  program  at  home, 
and  being  unable  to  go  to  her  teacher  in  a  distant 
city  to  play  the  selections  for  criticism  and  sug- 
gestion, she  simply  availed  herself  of  the  expe- 
dient of  performing  them  into  a  recording  appa- 
ratus and  sending  the  records  themselves  to  her 
teacher.  Simply  by  reproducing  them  the  in- 
structor was  able  to  give  her  valuable  assistance 
as  to  the  performance  of  the  various  compositions 
she  was  to  play  in  public. 

If  the  teacher  will  investigate  this  popular 
means  of  providing  music  in  the  home,  will  con- 
sider it  solely  on  the  basis  of  its  potentiality  and 
of  its  best  possible  results,  and  not  its  worst,  he 
will,  as  we  have  said,  find  in  it  an  ally  not  un- 
worthy of  attention.  It  will  never  take  the 
teacher's  place.  These  instruments  cannot  teach. 
But  they  can,  and  do,  stimulate  interest  in  music. 
They  purv^ey  to  the  love  of  it,  and  some  of  them 
can  do  what  very  few  human  beings  are  capable  of 
doing. 

One  fact  should  be  noted  before  we  leave  this 


96    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

subject:  Practically  no  great  artist  has  ever  re- 
fused to  allow  one  or  another  of  these  instruments 
to  perpetuate  his  art.  We  have  pointed  out  the 
great  historical  value  of  this  to  future  generations. 
To  the  present  generation  it  is  a  testimony  of  the 
comparative  excellence  of  the  means. 


CHAPTER  XII 


COMMUNITY   MUSIC 


It  has  been  pointed  out  in  the  preceding 
chapter  that  mechanical  musical  instruments 
are,  when  employed  to  their  best  effect  and  pur- 
poses, of  distinct  value.  They  create  a  musical 
interest  in  the  home  that  often  results  in  making 
the  householder  and  the  family  participators  in 
music  to  a  degree  they  had  not  before  attempted. 
But  the  best  influence  of  this  medium  does  not 
eventuate  until  the  music  lover  makes  that 
serious  use  of  his  tone-reproducing  machine 
which  transforms  passive  listening  into  active 
music  appreciation.  When  this  takes  place, 
there  is  a  centralization  of  interest  that  is,  as 
a  family  investment,  potent  in  its  effect. 

Just  as  family  music  must  be  centralized  to 
yield  its  best  results  and  influence,  so  too  must 
community  music.  In  the  cities  and  towns  of 
the  United  States,  where  community  music  has 
risen  to  its  most  significant  level,  there  will  always 
be  found  some  one  person  who  takes  the  matter 
in  hand  and  works  it  up  to  a  successful  issue.  In 
the  largest  cities  the  so-called  community  inter- 
est may  seem  to  be  absent,  and  yet  they  possess 
7  97 


98    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

many  organizations  that  are  in  all  respects  just 
as  local  as  the  chorus  or  orchestra  of  a  country 
town  or  small  city.  Even  a  casual  inquiry  into 
the  musical  activity  of  cities  like  New  York, 
London,  Berlin,  and  Vienna  will  reveal  the  fact 
that  while  these  localities  are  the  gathering  places 
for  the  world's  artists,  they  yet  present  a  vast 
amount  of  music  by  local  organizations. 

It  has  been  demonstrated  over  and  over 
again  that  the  American  (small)  community  is 
musical.  The  rapid  increase  in  the  number  of 
smaller  cities  and  towns  that  give  an  annual 
musical  festival,  proves  that  once  the  effort  is 
made  to  organize  the  community,  or  that  part 
of  it  which  is  musical,  a  surprisingly  good  result 
follows.  But  despite  the  rapid  increase  in  such 
local  musical  work,  there  are  numberless  places 
still  unorganized  in  this  respect.  In  every  such 
community,  the  music  teacher,  alive  to  the 
situation  and  anxious  to  perform  a  real  service, 
has  a  splendid  opportunity  before  him.  His 
first  experience  on  attempting  this  may  be  to 
find  a  general  conviction  among  his  people  that 
they  are  incapable  of  carrying  out  such  a  project. 
But  this  is  easily  overcome,  and  the  new  con- 
ductor, for  so  he  becomes,  can  aid  his  cause  and 
lend  encouragement  to  the  untrained  by  form- 
ing his  chorus,  at  least  in  part,  from  the  High 
School  pupils,  who  receive,  very  generally  now, 
instruction  in  part  singing.     It  is  not  the  purpose 


COMMUNITY  MUSIC  99 

of  this  book  to  specify  ways  and  means  of  carry- 
ing out  the  details  of  this  matter,  but  rather  to 
encourage  the  undertaking  as  the  best  means  for 
bringing  the  people  of  a  community  to  its  musical 
senses.  Under  skillful  (and  hardworking)  man- 
agement, it  does  not  take  long  to  move  from 
simple  beginnings  to  more  thorough  and  artistic 
performances.  Several  conductors  have  in  recent 
years  given  programs  that  permit  the  participa- 
tion of  school  children  of  the  lower  grades.  In 
this  way  the  musical  impulse  is  made  to  move 
through  the  whole  social  range. 

The  present  professor  of  music  at  Cornell 
University  has  developed  an  unusually  excellent 
chorus,  which  annually,  in  April,  gives  a  Festival 
performance  extending  over  several  days.^  Larger 
cities,  like  Cincinnati,  Louisville,  Ky.,  Wor- 
cester, Mass.,  have  for  years  been  famous  for 
their  Festival  chorus  music.  Not  only  are  such 
communities  as  these  just  mentioned  doing  most 
remarkable  work,  but  many  smaller  places  have 
established  choruses  that  perform  either  inde- 
pendently of,  or  in  conjunction  with,  an  or- 
chestra and  soloists  engaged  for  the  occasion. 
The  public  schools  have  been  a  remarkable 
influence  in  this  particular.  They  have  produced 
amateur  orchestras  that,  in  such  an  instance  as 
that  of  Richmond,  Indiana,  under  the  recent 
direction  of  Mr.  Will  Earhart,  have  become 
^See  Chapter  XIII. 


100    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

known  far  and  wide  for  their  excellent  perform- 
ances. The  musician  who  can  unify  the  musical 
activities  of  a  community  and  bring  to  the  fore 
people  of  latent  musical  capacity  who  are  not 
developed,  finds  himself  suddenly  surrounded  by 
a  richness  of  heritage  that  is  astonishing. 

The  benefits  following  upon  this  local  musical 
training  result  in  opposite  directions.  On  the 
one  hand,  they  typify  the  community  itself,  give 
it  expression,  and  occasionally  some  degree  of 
renown;  on  the  other  hand,  its  influence  is  almost 
certain  to  emphasize  music  in  the  home  (the 
Hausmusik  of  the  Germans).  People  contribute 
to  and  support  only  those  activities  in  which  they 
are  interested.  It  is  often  necessary  to  prove  to 
the  people  of  a  town  that  they  have  capability  to 
do  a  thing,  even  though  it  has  been  hitherto  un- 
tried. In  one  comparatively  small  community, 
where  the  festival  idea  has  taken  firm  root,  and 
where  most  excellent  work  is  being  done,  a  Con- 
servatory has  come  into  existence  that  trains 
several  hundreds  of  pupils  annually.  With  an 
excellent  school  system  in  which  music  plays  an 
important  part,  the  town  is  musically  active  and 
interested  from  bottom  to  top.  It  has  few 
families  that  are  not  in  some  degree  interested  in 
this  art — which  is,  above  all  others,  the  true  art 
of  the  people. 

If    the    private    teacher    cannot    originate    so 
momentous  a  work  as  the  musical  organization 


COMMUNITY  MUSIC  loi 

of  the  community,  he  can,  at  least,  contribute  to 
it.  Every  child  he  teaches  is  a  community  unit 
and  factor.  Without  push  or  self-advertising  on 
the  part  of  the  teacher,  the  work  of  the  class 
may  be  made  as  much  of  a  factor  in  the  local 
musical  life  as  church  music  is,  to  say  the  least. 
Even  simple  programs  may  be  so  well  prepared 
that  they  offer  true  music  pleasure  to  everyone. 
And  it  is  a  form  of  pleasure  that  should  not  be 
denied  the  community  in  which  it  originates. 
The  teacher  who  attempts  this  public  benefit 
work  may  be  accused  of  "pushing  himself  for- 
ward." But  this  is  no  stigma.  Where  no  selfish 
motive  is  the  inspiration,  carping  critics  will  be 
few.  And  even  if  there  were  a  common  purpose 
on  the  part  of  all  teachers  thus  "to  push  them- 
selves forward,"  the  community  would  benefit. 

This  art  of  the  teacher  of  turning  back  to  the 
community  some  results  of  his  work,  in  the  form 
of  pleasure  and  educational  entertainment,  brings 
out  the  fact  that  there  is  a  vast  amount  of  unde- 
veloped music  activity  all  about  us.  Teachers, 
churches,  schools,  and  music  clubs  could  readily 
organize  their  music  work  on  a  basis  of  providing 
enjoyment  of  the  best  kind  to  all  the  people. 
Such  organization  always  requires  an  organizer, 
some  one  w^ho  perceives  the  latent  possibility 
and  makes  it  available  to  the  greatest  number. 
It  is,  in  short,  social  betterment  work  of  the  best 
type. 


102    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

The  gregarious  instinct  that  crowds  the  streets 
with  unoccupied  young  men  and  women,  that 
profitably  fills  saloons  and  cheap  theaters,  often 
turns  aside  to  the  better  inducement.  In  this 
respect,  the  teacher  finds  a  means  for  performing 
social  service  that  may  be  as  humble  as  the 
widow's  mite,  but  it  can  never  be  too  humble  to 
count  as  an  influence.  A  remarkable  movement 
in  Philadelphia  merits  record  here.^  An  organiza- 
tion of  musicians  makes  it  its  single  purpose  to 
send  its  members  singly  or  in  groups  to  the 
various  hospitals,  homes,  and  similar  institutions 
to  provide  entertainment  to  the  inmates.  The 
reception  of  this  has  been  hearty  and  appreciative. 
The  "shut-ins"  are  found  everywhere,  and  by 
means  of  the  basic  truth  that  we  have  received 
freely  and  so  should  give  freely,  even  the  humblest 
teacher  may  discover  some  way  to  bring  light  and 
cheer  into  the  presence  of  loneliness  and  despair. 
Some  of  the  busiest  men  in  New  York  are  willing 
speakers  at  such  places  as  the  Bowery  Mission. 
No  philanthropy  is  more  practical  than  this.  It 
establishes  between  man  and  man,  however  far 
apart  their  stations  and  fortunes,  a  bond  of  fellow- 
ship that  is  helpful  and  inspiring.* 

^  This  movement  has  been  practically  directed  by  Mr. 
James  Francis  Cooke,  of  Philadelphia. 

2  For  other  instances  of  community  work,  through  music, 
see  Appendix. 


CHAPTER  XIII 

A  TYPE  OF  COMMUNITY  MUSIC  IN  THE  UNITED  STATES 

We  are  not  accustomed  so  to  express  it,  but 
the  fact  is  that,  when  Joseph  departed  from  his 
brethren  to  go  into  the  land  of  Egypt,  he  became 
business-manager  to  Pharaoh,  bringing  system, 
eflSciency,  and  wise  counsel  into  the  conduct  of 
that  ruler's  affairs.  He  became,  in  fact,  indis- 
pensable in  the  performance  of  tasks  that  ranged 
from  those  of  apparently  little  moment  to  the 
interpretation  of  dreams.  And  in  them  all  the 
magic  of  his  mind  inspired  the  words  of  his  lips 
and  the  work  of  his  hands,  and  he  \vTOUght  well. 

It  is  proposed  in  this  chapter  to  show  that  com- 
munity music  in  the  United  States  is  not  only 
possible  in  every  one  of  our  cities  and  towns, 
but  that  there  is  a  way  of  securing  it.  Let  us 
Umit  ourselves  to  a  single  illustration  of  this 
effort.  It  will  prove  that  the  American  people 
are  musical.  They  may  not  believe  it,  but  the 
fact  remains  that  they  are,  and  they  admit  it 
whenever  a  man  leaves  his  brothers  and  goes  into 
their  land;  a  man  capable,  on  the  one  hand,  of 
doing  things  well;  and,  on  the  other,  of  interpret- 
ing dreams. 

103 


104    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

Some  years  ago,  in  conversation  with  Anton 
Lang,  Christus  in  the  Passion  Play  at  Oberam- 
mergau,  I  said  to  him: 

"Mr.  Lang,  the  surprising  feature  of  this  per- 
formance to  me  is  that  the  people  of  this  little 
community  can  attain  such  perfect  mastery  over 
their  parts,  individually  and  in  ensemble,  and 
yet  not  perform  publicly  more  frequently  than 
every  tenth  year." 

"That,"  he  replied,  "is  not  the  way  we  pro- 
ceed. While  we  produce  the  Passion  Play  but 
once  in  ten  years,  we  perform  plays  in  our  little 
theater  here  every  Sunday.  In  that  way  we 
are  always  in  practice.  Our  knowledge  of  his- 
trionic art  is  constantly  increasing.  As  our 
children  become  old  enough  to  participate,  even 
to  a  slight  extent,  in  the  Sunday  performance,  we 
bring  them  forward.  Whenever  we  discover 
talent,  we  encourage  it,  and  the  boy  or  girl  whom 
we  find  gifted  is  destined  to  participate  in  one 
of  our  decennial  celebrations.  In  this  way  we 
pass  the  art  on  from  generation  to  generation, 
much,  I  suppose,  as  the  Homeric  poem  was  car- 
ried forward  from  lip  to  lip  until  it  became  fixed 
in  type." 

The  town  we  propose  to  take  as  a  type  of  the 
possibilities  of  community  music  is  Ithaca, 
New  York,  seat  of  Tompkins  County.  The 
population  is  approximately  fifteen  thousand,  aug- 
mented in  the  college  year  by  about  five  thousand 


A  TYPE  OF  COMMUNITY  MUSIC  105 

University  students,  and  in  summer  by  about 
one  thousand  students  who  attend  the  Summer 
School.  For  miles  in  every  direction  highly 
developed  farms  abound.  Here  agriculture  at 
its  best  may  be  seen.  In  the  town  itself  there  are 
a  number  of  industries  that  employ  day  laborers. 
While  the  dwelling  houses  about  the  campus  and 
in  other  parts  of  the  town  are  exceptionally  at- 
tractive, there  is  evidence  on  every  hand  of  a  pre- 
vailing middle  class  life  that  makes  the  town 
typical  of  hundreds  of  communities  in  the  United 
States. 

The  school  system  provides  a  Kindergarten, 
admirable  elementary  schools,  a  high  school  famed 
for  its  splendid  college  preparatory  work,  and, 
crowning  the  splendid  system,  is  the  university, 
that  owes  so  much  to  the  memory  of  Ezra  Cornell 
and  to  the  efforts  of  Dr.  Andrew  D.  White,  its 
first  president. 

Some  years  ago  there  wandered  into  this 
land,  from  Bradford  County,  Pennsylvania,  a 
youth  who  was  engaged  to  teach  penmanship 
and  general  commercial  subjects  in  the  high 
school.  A  student  of  music  from  his  childhood, 
he  found  the  most  natural  play  of  his  talent  in 
this  art,  and,  in  the  course  of  time,  he  abandoned 
the  teaching  of  commercial  branches  and  became 
Supervisor  of  Music.  Always  firmly  convinced 
that  the  American  community  abounds  in  latent 
music  possibilities,  he  began  gradually  to  develop 


lo6    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

its  resources.  Adherence  to  a  few  simple  truths 
which,  with  enlarging  experience,  he  gradually  de- 
veloped, proved  not  only  to  him  but  to  others 
that  his  belief  in  musical  America  was  correct. 
To-day  this  man,  Dr.  HoUis  Blsworth  Dann,  is 
Professor  of  Music  in  Cornell  University,  and  the 
Director  of  a  Festival  Chorus  that  is  at  once 
the  proof  of  his  original  belief  and  the  pride  of 
his  community. 

The  Festival  Chorus  performs  annually  in 
April,  for  one  week,  programs  no  less  ambitious 
than  we  are  accustomed  to  hear  in  our  larger 
cities.  A  chorus  of  two  hundred  and  seventy- 
five  voices,  made  up  of  school  children,  university 
students,  and  townspeople,  represents  in  minia- 
ture the  community  as  a  whole.  Business  men 
and  university  students,  house-wives  and  school 
children  come  together  to  perform  such  works  as 
Alda,  The  Children's  Crusade,  Samson  and 
Delilah,  The  Elijah,  and  all  the  rest  of  the  classical 
repertoire  that  has  been  made  familiar  to  our 
people  by  the  best  choral  organizations. 

Festival  week  brings  together  people  from  far 
and  near  in  such  numbers  as  to  occupy  every 
inch  of  available  room.  The  event  is  not  second 
in  importance  to  Commencement  week  itself. 
A  symphony  orchestra  with  soloists  of  highest 
excellence  assists  the  chorus,  and  between  them 
all  they  offer  striking  proof  of  the  fact  that  the 
American  community  is  musical  to  a  remarkable 


A  TYPE  OF  COMMUNITY  MUSIC  107 

degree.  Rehearsals  for  the  festival  begin  in  Decem- 
ber, and  continue  regularly  until  April. 

Let  us  see  how  this  continuous  music  activity 
goes  on,  for  what  is  done  here  can  be  done  in  any 
other  town,  provided  a  man  is  present  who  has 
the  ability  not  only  to  dream  dreams  about  the 
people,  but  the  skill  withal  to  make  them  come 
true. 

The  child  enters  the  kindergarten,  begins  its 
musical  education  there,  and,  remaining  in  school 
to  the  age  of  fourteen  or  beyond,  is  turned  over 
to  the  community  as  a  singer  capable  of  participat- 
ing in  an  artistic  festival  performance ;  thus  prov- 
ing that  the  cost  of  music  education  is  actually 
paid  back  to  the  tax  payers,  in  developed  capacity, 
as  an  earnest  of  a  good  investment. 

At  the  end  of  the  kindergarten  year  the  children 
are  able  to  sing  from  memory,  of  course,  from 
twenty  to  thirty  simple  songs.  The  songs  are 
made  the  basis  of  pleasing  object  study,  and  with 
this  attainment  the  children  are  taught  to  sing 
the  scale  with  syllables  as  a  song. 

This  kindergarten  music  is  carried  on  to  the 
first  (primary-)  year,  and  when  the  child  is  ready 
to  enter  the  second  grade,  he  takes  with  him 
these  factors  of  power;  factors  that  have  been 
attained  as  naturally  and  as  easily  as  the  words 
of  his  daily  vocabulary: 

He  can  sing  from  twelve  to  twenty  rote  songs, 
with  good  tone,  and  without  falling  from  the  pitch. 


lo8    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

He  can  recognize  and  sing  by  syllable,  groups 
of  tones  sung  by  the  teacher,  or  played  on  the 
piano,  or  sung  by  other  children. 

He  can  write  them  on  the  blackboard  in  correct 
music  notation. 

He  can  read  at  sight  simple  melodies  in  simple 
meters. 

In  brief,  he  can,  at  the  end  of  the  first  school 
year,  think  music,  read  music,  and  write  music — 
having  learned  all  this  in  concerted  and  individual 
recitations  of  twenty  minutes  per  day,  these  reci- 
tations being  conducted  by  the  grade  teacher,  who 
is  regularly  directed  in  her  work  by  the  Supervisor 
of  Music. 

On  completion  of  second  year  music,  the  tone 
remains  pure  and  the  class  sing  up  to  pitch.  Ten 
to  fifteen  additional  rote  songs  have  been  learned 
which  are  somewhat  longer  than  the  first  year 
songs.  The  class  recognize,  sing,  and  write,  in- 
dividually, longer  tone  groups,  including  simple 
skips,  in  two,  three,  and  four  part  meter. 

They  have  read  at  sight  one  or  two  little  music 
primers,  in  addition  to  the  regular  text-books 

The  results  of  the  third  year  music  include  three 
or  four  rote  songs  of  special  character,  usually 
patriotic,  the  pupils  now  being  able  to  read  at 
sight  from  the  book  the  songs  which  they  sing. 

Two-part  singing  has  been  introduced,  but  not 
practised  to  any  extent.  The  study  of  simple 
chromatic  tones  is  begun. 


A  TYPE  OF  COMMUNITY  MUSIC  109 

Individual  tone  and  rhythm  work  includes 
the  writing  of  tone  groups  with  simple  skips, 
recognition  of  two  and  three  part  meter,  marking 
the  accent,  and  placing  the  bars  and  meter  sig- 
natures. 

The  individual  singing  and  reading  at  sight 
has  included  the  use  of  material  in  the  regular 
text-book,  and  one  or  two  supplementary  readers 
containing  music  with  simple  melodic  skips,  two 
sounds  to  the  beat,  in  two,  three,  four,  and  six 
part  measure. 

In  the  upper  grades  the  (written)  Tone  and 
Rhythm  study  is  partly  creative,  taking  the  form 
of  melody  writing.  Words  gradually  take  the 
place  of  syllables  in  the  sight  reading,  which 
consists  more  and  more  of  song  material  in  each 
succeeding  grade. 

When  two  and  three  part  singing  is  intro- 
duced, all  normal  children  sing  all  parts  and  are 
never  allowed,  much  less  required,  to  sing  con- 
tinually on  one  part.  When  the  boys'  voices 
begin  to  change,  they  are  carefully  classified, 
and  assigned  permanently  to  the  proper  part. 

The  music  of  the  grades  is  continued  system- 
atically in  the  high  school,  which  has  an  ex- 
cellent Boys'  Glee  Club,  a  selected  chorus  of  one 
hundred  girls,  a  large  orchestra,  excellent  chorus 
work  by  the  entire  school,  and  elective  classes 
in  Melody  Writing  and  Dictation. 

The    glee    club    and    orchestra    are    heard    in 


no    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

school  assembly  and  in  concert.  The  Girls* 
Chorus  gives  a  Cantata  annually,  and  the  High 
School  Chorus  gives  a  Cantata  or  miscellaneous 
program  at  Commencement. 

Two  forty-five-minute  periods  per  week  are 
devoted  to  music  in  the  High  school.  Through- 
out the  grades  and  in  the  High  school  the  interest 
in  music  is  genuine  and  equally  strong  with 
teachers,  pupils,  and  town's  people. 

The  results  of  the  study  of  music  upon  the 
boys  and  girls  of  this  community  are  significant. 

They  have  learned  a  new  language.  By  con- 
stant individual  work  they  have  learned  to  think 
in  the  language,  to  read,  write,  and  appreciate  it. 
They  have  learned  concentration,  quickness,  and 
accuracy  of  thought  and  action.  They  possess 
the  ability  to  read  and  enjoy  much  of  the  rich  and 
fascinating  literature  of  music.  They  have  a 
love  and  appreciation  of  music  which  will  increase 
as  they  grow  into  manhood  and  womanhood. 

So  much  for  the  music  in  the  grades  and  in  the 
High  school.  It  is,  as  I  have  endeavored  to 
impress,  not  regarded  as  a  school  study,  pure 
and  simple,  but  as  a  community  asset.  As  in 
Oberammergau,  so  here,  every  Sunday  of  the  col- 
lege year  is  celebrated  with  a  significant  musical 
program,  which  attracts  not  only  the  people  in 
and  about  the  campus,  but  from  the  town,  often 
to  the  extent  that  many  are  unable  to  get  into 
the  chapel.     This  intense  community  interest  in 


A  TYPE  OF  COMMUNITY  MUSIC  III 

music  is  shown  in  another  way,  how  it  has,  in  fact, 
been  practically  developed: 

Fifteen  years  ago  the  receipts  of  an  orchestral 
concert  in  this  same  community,  conducted  by 
distinguished  orchestral  leaders,  were  not  al- 
ways sufficient  to  pay  the  local  expenses. 
Famous  singers,  in  recital,  attracted  fewer  than 
one  hundred  people.  Now  such  concerts  are 
assured  of  full  houses,  and  of  an  appreciative  and 
intelligent  audience. 

Pursuing  the  effect  of  this  remarkable  musical 
awakening  beyond  the  point  of  its  application  in 
public  performances,  it  may  be  shown  that  there 
rests  within  it  a  yet  more  wonderful  influence. 
The  saloon  and  its  associated  places  of  amusement 
may  never  be  abolished  by  law,  but  they  can  be 
eliminated  from  the  consciousness  of  our  people. 
To  do  that,  it  is  necessary-  to  awaken  in  them  not 
alone  response  to  enjoyment,  but  the  power  of 
creating  the  enjoyment  itself.  Once  this  springs 
into  activity  and  begins  to  expand,  a  new  type  of 
citizen  emerges.  He  has  cultural  power  and 
cultural  possibilities.  These  may  find  expres- 
sion in  one  of  many  worthy  and  beautiful  ways, 
but  music  is  peculiarly  a  valuable  outlet,  for  this 
reason :  It  is  the  only  art  that  can  be  participated 
in  by  many  with  an  equal  opportunity  to  all  for 
self-expression.  This  is  why  the  Festival  Chorus, 
or  even  the  most  humble  chorus,  is  so  potent  a 
means    of    community    culture.     One    may    be 


112    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

tempted  into  passivity  at  a  lecture  or  at  an  art 
exhibit,  for  there  can  be  no  power  of  control  over 
the  degree  of  attention  that  the  observer  must 
direct  to  the  words  of  a  speaker  or  to  an  art 
object.  But  in  a  chorus,  where  all  the  influences 
of  art  are  actively  present,  the  watchful  eye  of 
the  conductor,  his  enthusiasm  and  encourage- 
ment inspire  every  tongue  to  speak — and  in  that 
speaking  the  latent  capacity  is  made  manifest. 
Furthermore,  in  the  participation  of  every  per- 
former there  is  a  well-spring  of  individual  attain- 
ment, a  stimulation  and  development  of  personal 
power,  and,  as  I  have  said  above,  wherever  this  is 
true,  a  new  type  of  citizen  emerges  to  enrich  the 
land  wherein  he  dwells. 

And  there  is  yet  much  land  to  be  possessed. 


CHAPTER  XIV 


PUBLIC   SCHOOL  MUSIC 


Two  aspects  of  public  school  music  may  in- 
terest the  teacher.  Either  he  may  investigate  it 
for  the  purpose  of  working  with  it  cooperatively, 
or  he  may  prepare  to  learn  it  as  a  profession. 

It  is  not  necessary-  to  our  purpose  to  relate  the 
history  of  this  remarkable  phase  of  public  educa- 
tion. From  humble  and  experimental  beginnings 
about  1830,  it  has  developed  to  so  remarkable  a 
degree  that  children  from  the  "grades"  (that  is, 
below  the  High  School)  have  sung  in  public,  with 
unusual  effect,  such  works  as  Peter  Benoit's 
Into  the  World,  and  Gabrielle  Pieme's  Children  s 
Crusade,^  the  music  being  learned  as  a  part  of  the 
work  of  the  daily  music  period.  To  attain  such 
a  result,  with  children  who  begin  at  the  age  of 
six  to  learn  the  major  scale  by  rote,  impHes  a 
systematic  order  of  procedure  that  should  interest 
every  private  teacher  of  music. 

1  This  work  had  its  first  performance  in  America  under 
the  direction  of  Dr.  Frank  Damrosch,  with  a  chorus  aug- 
mented by  two  hundred  voices  from  the  public  schools  of 
New  York  City.  It  has  been  given  twice  by  the  Cmcin- 
nati  May  Festival  Association,  with  children  from  the 
city's  schools;  and  at  Louisville,  Ithaca,  and  elsewhere. 
8  113 


114    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

Generally,  three  periods  of  public  school  music 
are  recognized:  (a)  That  pertaining  to  the  Prim- 
ary Grades,  (b)  That  of  the  Grammar  Grades, 
(c)  That  of  the  High  School.  Sometimes  the 
Primary  Grade  work  is  introduced  through  music 
for  the  Kindergarten,  and  in  a  few  localities  the 
music  of  the  High  School  leads  directly  to  special 
work  in  College  classes. 

Three  problems  underlie  music  in  the  schools: 

1.  Its  technic  as  a  language.  Hence,  training 
to  read,  to  think,  to  listen,  and  to  write. 

2.  Its  proper  interpretation. 

3.  Its  appreciation. 

This  program  shows  that  "sight  reading"  is 
distinctly  not  the  aim  of  music  in  schools,  but 
sight  reading  is  an  humble  means  for  attaining 
the  other  ends  we  have  instanced. 

In  the  earlier  grades  the  initial  instruction  is 
by  rote,  but  even  in  the  first  year  of  school 
children  learn  to  read  in  several  major  keys. 
When  printed  notation  has  become  familiar 
(exactly  as  the  printed  notation  of  EngHsh  has  in 
the  Primer)  the  child's  progress  is  natural  and 
rapid.  Thenceforth,  reading  seldom  offers  any 
difficulty,  and  the  child's  attention  is  brought  to 
bear  upon  the  development  of  powers  that  are 
often  uncultivated  in  the  professional  musician. 
In  their  totaUty,  the  powers  to  be  developed  are: 

1.  Music  memory. 

2.  The  reading  of  music. 


PUBLIC  SCHOOL  MUSIC  US 

3.  The  accurate  writing  of  music  from  Dicta- 
tion. 

4.  The  composition  of  melodies,  with  and 
without  words. 

6.  The  abihty  to  participate  in  part  music 
(particularly  for  two  and  for  three  voices). 

7.  Along  with  this  natural  approach  to  the 
subject,  the  child  learns  gradually  the  various 
terms  and  signs  used  in  music,  the  major  and  mi- 
nor keys  and  their  signatures. 

During  the  eight  or  twelve  years  of  this  school 
course  the  child  sings  hundreds  of  compositions 
of  good  writers,  and  becomes  as  familiar — through 
his  own  capacity  to  read  their  works — with  the 
names  of  famous  musicians  as  he  is  with  the  names 
of  famous  authors  in  literature. 

Ordinarily  the  process  of  conducting  public 
school  music  is  to  place  the  responsibility  for  the 
subject  in  the  care  of  a  special  teacher  (the  music 
supervisor  or  director).  This  instructor  per- 
sonally prepares  the  grade  teacher  to  give  the 
actual  instruction,  while  it  remains  the  province 
of  the  supervisor  to  visit  every  room,  test  the 
work,  and  give  such  instruction  as  may  not  be 
regarded  as  within  the  province  of  the  grade 
teacher.  The  work,  properly  organized  on  this 
basis,  provides  a  specialist  who  plans  and  executes 
the  broader  movements  of  the  subject  and  pro- 
vides (in  the  grade  teacher)  a  corps  of  assistants 
who  give  daily  attention  to  it. 


Il6    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

While  public  school  music  has  been  in  existence, 
with  us,  for  several  decades,  it  is  only  within 
recent  years  that  supervisors  have  been  especially 
and  thoroughly  trained  for  the  office.  At  the 
present  time  there  are  several  special  schools  for 
the  training  of  teachers  in  this  profession;  while 
a  considerable  number  secure  their  education 
either  under  private  instructors,  or  by  attending 
a  "Summer  School"  for  one,  two,  or  three  years. 

The  requirements  for  this  profession  are  not 
simple,  and  though  the  office  has  frequently  been 
filled  by  people  with  comparatively  little  training, 
the  specialization  which  the  subject  has  received 
in  recent  years  has  resulted  in  a  curriculum  that 
is  adequate.  A  teacher's  fitness  for  this  work 
begins  with  natural  endowment.  One  should, 
necessarily,  be  musical;  possess  a  pleasing  per- 
sonality; have  the  ability  to  attract  children,  and 
the  tact  to  direct  them.  It  is  required  at  all 
times  not  only  to  work  with  children,  but  with 
the  entire  corps  of  teachers,  principals,  and  the 
superintendent.  One  must  be  methodical  in  the 
work,  and  absolutely  adaptable  in  all  the  de- 
mands it  makes.  The  musical  training  to  be 
erected  upon  this  material  foundation  demands, 
first,  a  voice  of  pleasing  quality,  the  true  percep- 
tion of  pitch,  clear  enunciation  of  English,  and 
what  is  known  as  the  inherent  musical  sense. 

The  technical  training  demands  the  complete 
mastery  of  the  problems  involved  in  sight  reading ; 


PUBLIC  SCHOOL  MUSIC  II7 

hence,  the  fundamental  musical  knowledge  should 
be  extensive.  One  must  know  enough  about 
musical  theory  to  perceive  all  the  constructive 
purposes  of  the  composer.  This  involves  some 
knowledge  of  Harmony,  Melody,  Musical  Form, 
and  all  that  is  included  under  Rudiments  of 
Music.  Musical  dictation  is  required  to  the 
extent  that  one  writes  (at  least,  to  the  limit  of 
the  subject's  demands)  readily  and  accurately. 
The  supervisor  must  be  able  to  step  to  the  black- 
board and  illustrate  in  melodic  figure  whatever 
problem  the  class  is  studying. 

If  the  supervisor  is  to  rise  above  mediocrity 
in  the  profession,  he  must  be  skillful  in  the  adap- 
tation of  what  he  knows  to  its  broadest  purposes. 
All  that  is  involved  in  the  history  and  appre- 
ciation of  the  music  he  teaches  should  be  at  his 
ever-ready  command.  And,  further,  he  must  be 
a  willing  student  as  long  as  he  teaches,  must  have 
a  capacity  for  organization,  and,  most  important 
of  all,  cultural  attainment  must  be  worthy  of  the 
educational  position.  The  supervisor  who  teaches 
music  by  means  of  bad  English  is  not  a  profitable 
municipal  investment. 

Salaries  paid  for  music  supervision  in  the 
public  schools  vary  from  a  few  dollars  a  month 
to  four  thousand  dollars  per  annum.  There  are 
very  few  of  the  latter  amount,  and  an  amazing 
number  of  the  former.  But  of  salaries  it  may 
be  said— as  it  may  be  of  private  teaching— the 


Il8    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

full  round  of  equipment  of  the  teacher,  his  skill, 
adaptability,  and  the  results  he  produces  are  the 
determining  factors.  Many  supervisors  have 
begun  with  a  very  uncertain  condition  of  music 
in  schools,  have  built  it  up  into  a  concretely 
organized  subject,  and  have  determined  their 
own  salaries  as  they  have  improved  the  situa- 
tion. 

The  salient  requirements,  aside  from  the  details 
already  given,  are: 

1.  A  substantial  cultural  education. 

2.  Capacity  for  team  work  in  the  educational 
organization. 

3.  A  sound  musical  training. 

4.  A  thorough  special  training  in  the  subject 
itself. 

From  the  little  here  outlined,  the  reader  will 
correctly  infer  that  public  school  music  has  be- 
come a  highly  specialized  subject.  Few  commu- 
nities, however,  realize  upon  it,  in  proportion  to 
the  expense  involved.  Its  natural  florescence 
as  an  educational  asset  is  in  the  organization  of  a 
body  of  community  singers  composed  of  adults, 
and  of  selected  singers  from  the  upper  public 
school  classes.  Nothing  else  in  the  educational 
curriculum  lends  itself  so  naturally  to  com- 
munity interest  as  music  does.  This  has  been 
referred  to  in  the  chapter  on  Music  in  the  Com- 
munity. 

The  private  music  teacher  should  not  neglect 


PUBLIC  SCHOOL  MUSIC  119 

the  opportunity  of  acquainting  himself  fully 
with  the  practice  of  music  in  the  schools.  Just 
as  public  school  music  is  frequently  an  unde- 
veloped asset  in  the  community,  so  it  remains  an 
equally  undeveloped  asset  with  the  private 
teacher.  The  schoolboy  or  girl  who  is  taking 
private  music  lessons  should  be  led  into  per- 
ceiving the  unity  of  this  effort  with  that  of  the 
daily  school  song  period.  And  this  can  be  done 
without  calling  the  child's  attention  to  the 
matter.  The  identity  of  effort  is  easily  made 
evident. 

In  some  High  Schools  music  is  dropped  from 
the  curriculum.  In  others,  it  is  given  its  rightful 
place,  progressively  from  the  grades.  Here, 
works  in  larger  forms  are  studied.  The  changed 
voice  on  the  part  of  the  boys  provides  a  few 
tenors  and  more  basses;  hence,  four-part  music 
can  be  taken  up  for  study.  Again,  in  the  High 
School,  some  attention  is  paid  to  music  theory 
(in  one  or  more  of  its  branches),  to  music  history, 
and,  in  very  frequent  instances,  to  music  ap- 
preciation. 

One  Normal  school^  devotes  some  time  daily 
to  the  study  and  analysis  of  a  musical  work — 
appreciatively.  Pianoforte  and  vocal  programs 
are  given  by  students  and  visiting  artists.  The 
piano    player    and    sound-reproducing    machine 

^  At  Winona,  Minnesota,  Miss  Caroline  V.  Smith,  Mu- 
sical Director. 


120    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

open  the  entire  range  of  music  to  the  students. 
The  director  says  in  her  instruction  to  teachers: 

In  order  to  make  Hstening  to  a  musical  selec- 
tion effective  strive  to  create  a  sympathetic 
atmosphere,  and  so  establish  a  right  relation 
between  performer  and  listener.  The  music 
often  tells  a  story,  or  there  is  a  story  about  the 
music.  Awaken  a  sympathetic  attitude  by  telling 
the  story  as  given. 

Frequently  ask  pupils  to  give  their  impression 
of  the  music.  Sometimes  in  the  upper  grades, 
let  them  give  an  analysis  of  a  composition. 

A  definite  plan  of  analytical  study  is  pre- 
sented, which  is  worked  out  with  all  necessary 
means  (including  a  very  valuable  and  practical 
school  library  of  books  on  music).  The  method 
and  extent  of  the  work  of  this  Normal  school 
are  unique,  but  at  the  same  time  a  thoroughly 
practical  system  of  procedure  underlies  it  all, 
that  makes  like  attainment  possible  wherever 
there  is  a  teacher  who  can  organize  the  study 
of  the  art  in  an  equally  efficient  way. 

In  a  few  localities  high  school  students  are 
given  credit  for  music  work  done  with  the  private 
teacher  (outside  of  school).  The  music  appre- 
ciation period  is  particularly  adapted  for  turning 
this  (private)  music  attainment  to  account,  and  in 
many  schools  every  student  who  can  sing  or  play 
is  given  an  opportunity  to  participate  in  the 
school  programs. 


PUBLIC  SCHOOL  MUSIC  I2l 

The  private  teacher  who  investigates  this 
subject  will  find  it  to  abound  in  interest.  There 
is  much  in  it  that  will  prove  of  direct  benefit,  and 
by  cooperating  with  the  public  school  educational 
effort  he  can  help  twofold:  his  own  teaching  will 
readily  correlate  with  it,  and  he  contributes  a 
valuable  musical  unit  to  the  schools  in  the  pupils 
he  is  training. 

As  a  concrete  illustration  of  work  required  in 
Public  School  music  courses  the  reader  is  referred 
to  the  concluding  chapter  of  this  book,  in  which 
examination  tests  are  presented. 


CHAPTER  XV 

MUSIC  IN  SOCIAL  SETTLEMENT  WORK 

In  the  effort  to  give  music  its  logical  place  in 
the  social  order,  to  avail  of  it  where  its  art  and 
education  impulse  may  produce  the  best  results, 
it  is  natural  that  it  should  be  found  an  aid  to  the 
purposes  of  Settlement  work.  While  there  are 
to-day  several  so-called  Music  School  Settle- 
ments, they  have  come  into  being  within  a  few 
years,  and  all  have  found  more  or  less  inspiration 
in  the  well-known  institution  in  East  Third 
Street,  New  York  City. 

[The  description  of  this  school  as  given  in  the 
following  paragraphs  is  from  an  article^  written 
when  the  first  definitely  planned  activities  for  the 
growth  of  the  school  were  being  made.  Since 
that  time  the  work  has  increased  not  only  in 
scope,  but  in  value.  From  a  small  faculty,  teach- 
ing a  comparatively  small  number  of  students, 
the  school  has  grown  until  to-day  the  faculty 
numbers  over  one  hundred,  and  the  registered 
pupils   are   about   eight   hundred.     This   unique 

'  "  Music  and  East  Side  Children.  The  Story  of  a  Novel 
Social  Settlement,"  by  Thomas  Tapper.  From  the  Out- 
look, New  York. 

122 


MUSIC  IN  SOCIAL  SETTLEMENT  WORK     123 

plan  to  take  music  to  the  people  of  the  great 
East  Side  of  New  York  is  one  of  the  most  sig- 
nificant educational  demonstrations  of  the  times. 
It  constitutes,  in  the  highest  sense,  the  Com- 
munity Music  plan  raised  to  its  most  practical 
purposes.  Efforts  have  been  made  elsewhere  to 
inaugurate  a  similar  movement,  the  inherent 
force  of  which  is  attested  to  by  the  fact  that 
(so  far  as  it  is  known  to  the  writer)  no  such 
efifort  has  ever  met  with  failure.] 

It  is  three  o'clock,  and  the  children  are  hurry- 
ing through  the  basement  door  to  the  desk  where, 
for  a  few  cents,  they  procure  the  ticket  in  exchange 
for  which  they  receive  a  lesson. 

The  attendant  inquires  of  a  young  girl: 

"When  do  you  have  your  lesson,  Lena?" 

"Quarter  past  five,  please." 

Lena  receives  her  ticket,  deposits  it  in  a  safe 
place,  and  proceeds  to  make  her  plans.  She  is 
two  hours  and  fifteen  minutes  ahead  of  her 
schedule.  This  is  not  required  of  her,  but  it  is  an 
asset  on  which  she  has  reckoned.  If  it  be  cold 
and  stormy  without,  she  knows  that  she  is  at 
hberty  to  spend  the  time  in  the  School,  where  it 
is  warm,  homeHke,  and  attractive.  No  rules  re- 
strict her  actions,  save  the  one  that  demands  quiet 
in  order  that  no  disturbance  may  reach  the 
teaching  rooms.  If  it  be  summer  time,  Lena 
makes   her   way   to   the   back   yard    (not   quite 


124    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

20  X  50),  which  possesses  a  brilliant  red  swing, 
and  a  patch  of  blue  sky  overhead.  Here  Lena's 
liberty  is  unrestricted,  and  neither  she  nor  her 
brothers  have  ever  abused  it  even  so  far  as  to 
disturb  the  fringe  of  plants  that  struggle  for  life 
between  the  concrete  and  the  fence. 

At  a  quarter  past  five  Lena  reports  to  her 
teacher  and  performs  her  lesson.  The  time  is 
spent  earnestly,  and  the  work  accomplished  is 
genuine  in  every  sense.  It  is  at  once  businesslike 
and  artistic.  How  the  lesson  has  been  studied, 
wherein  it  gives  evidence  of  insufficient  thought, 
what  must  be  done  to  assure  better  results  for 
the  coming  week,  and  how  more  systematic 
habits  may  be  cultivated  to  attain  a  finer  artistic 
conception,  all  this  gives  her  an  abundance  of 
suggestion,  which,  whether  she  ever  becomes  a 
musician  or  not,  has  lasting  value. 

But  Lena's  responsibility  does  not  end  with 
the  lesson.  Should  you  visit  the  School  on  the 
following  Sunday  morning,  you  will  see  her 
hastening,  violin-case  in  hand,  to  report  at  ten 
o'clock.  Forty  others  of  her  kind  are  assembled 
there.  The  usual  confusion  incident  to  the  gath- 
ering of  an  orchestra  and  its  preparation  for  per- 
formance greets  you  as  you  enter.  But  in  a 
moment  quiet  reigns  and  all  are  in  place  ready 
to  begin. 

You  sit  with  the  group  of  visitors,  along  the 
wall,  or  on  the  stairs,  or  in  the  little  hallway. 


MUSIC  IN  SOCIAL  SETTLEMENT  WORK      125 

Under  the  guidance  of  Mr.  David  Mannes,  the 
Conductor  of  the  orchestra,  you  hear,  in  order,  a 
Handel  Concerto,  a  Mozart,  and  a  Beethoven 
Quartet.  The  program  amazes  you,  but  not  less 
than  the  performance  of  it.  The  children  are 
playing  classic  music  well,  and  in  a  reverent 
spirit.  It  is  particularly  with  the  spirit  that 
the  Conductor  impresses  both  you  and  them. 
Under  his  quietly  given  direction,  tone,  phrasing, 
and  interpretation  are  building  a  new  and  a 
fairer  creation.  The  beauty  of  the  music  comes 
forth  from  the  instruments  (many  of  which  cost 
as  little  as  three  dollars)  as  Aphrodite  rose  from 
the  mystic  sea.  The  Conductor  reminds  you  of 
the  line  in  Uhland's  poem,  "Der  Berg,  der  ist 
mein  Eigenthum,"  whereon  he,  standing,  calls 
up  to  him  these  little  ones  of  many  tribes,  who, 
down  in  the  city  of  the  plain,  may  be  so  easily 
and  so  dreadfully  scattered.  And  they  learn  to 
climb,  a  step  or  two  gained  now  and  then,  until 
one  day  we  hope  they  may  in  turn  dictate  to  the 
confusion  of  life  below  them  as  the  Knabe'  vom 
Berge  did,  saying,  "Lasst  meines  Vaters  Haus  in 
Ruh!" 

Now  it  is  noon,  the  rehearsal  is  over,  and  the 
children  surround  the  Conductor  and  direct  to 
him  a  happy  word  or  a  serious  inquiry.  Mean- 
while you  begin  your  tour  of  observation  to  the 
teaching-rooms,  the  violin  "store,"  the  library, 
the  front  parlor  office;  and  in  the  progress  of  your 


126    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

journey  upstairs,   downstairs,   and  in  the  little 
chambers  you  hear  this  story: 

There  are  in  regular  attendance  at  the  Music 
School  Settlement  about  three  hundred  and 
seventy-five  children,  from  six  to  seventeen  years 
of  age.  In  the  past  school  year  they  received 
collectively  thirty  thousand  lessons.  The  faculty 
numbers  thirty-two  members,  and  the  courses  of 
study  include  stringed  instruments,  piano,  har- 
mony, voice,  and  ensemble  music. ^ 

One  who  has  never  visited  the  School  may  ask, 
"Is  it  necessary  to  provide  music  instruction  to 
the  children  of  the  East  Side?" 

The  most  convincing  reply  to  this  question  is 
found  in  the  support  the  School  receives  from  the 
people  for  whom  it  exists.  They  not  only  tax 
it  to  its  capacity,  but  there  is  always  a  waiting 
list.  The  people  want  music  in  the  home,  and 
here  for  a  very  few  cents  they  may  procure  it. 
The  neighborhood  participates  in  the  school  life 
to  an  uncommon  degree.  One  evening  per  week 
is  devoted  to  a  public  concert  when  the  children 
or  visiting  artists  play.  In  a  room  that  seats  an 
orchestra  of  forty  comfortably,  a  hundred  or  more 
people  crowd  in  to  listen. 

Our  pupils  naturally  fall  into  three  classes: 
(i)  Those  who  love  music  and  study  it  as  far  as 
their  time  and  circumstances  permit.  This  type 
is  illustrated  by  one  of  the  boys  in  the  orchestra 
,    ^  All  these  figures  have  considerably  increased  of  late. 


MUSIC  IN  SOCIAL  SETTLEMENT  WORK     127 

who  was  advised,  against  his  own  deske,  not  to 
take  up  music  professionally;  he  became  a  civil 
engineer,  but  he  studies  music  in  his  spare  hours, 
and  he  never  fails  to  be  at  his  desk  on  Sunday. 
We  conclude  that  he  employs  his  margin  of  time 
wisely.     (2)  Those  who  have  found  themselves, 
and,  having  proved  by  talent,  industry,  and  char- 
acter that  they  may  safely  be  encouraged  to  follow 
music  as  a  calling,  have  become  orchestral  players. 
One  of  this  class  who  has  received  all  his  training 
in   the   School   has  just   passed  an  examination 
under  Mr.  Walter  Damrosch,  and  has  been  ad- 
mitted to  the  violin  section  of  the   New  York 
Symphony  Orchestra.     (3)  Those  who  have  the 
musical  and  intellectual  equipment  necessary  to 
become  teachers.     This  class  is  exemplified  by 
many  who  are  teaching  privately,  as  well  as  by 
eighteen  advanced  pupils  who  are  members  of  the 
School  faculty,  and  who,  by  earning  a  living  in  the 
School,  are  enabled  to  support  themselves  and  to 
continue  their  education. 

Of  the  total  enrollment,  a  certain  percentage 
become  wage-earners  in  music,  and,  compared 
with  the  work  of  almost  any  other  school,  this 
percentage  is  high.  The  rest  contribute  to  their 
families  the  fruits  of  their  activity  in  our  classes, 
and  open  for  themselves  another  pathway  into 
the  world's  treasure-house  of  thought  and  beauty. 
Recently,  in  conducting  a  competitive  examina- 
tion  for   the   assignment   of   a   scholarship,   an 


128    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

anaemic  little  Miss  played  for  me,  from  memory, 
the  Beethoven  Sonatine  in  F  major.  Every  note 
was  correct,  but  the  performance  was  so  delicate 
as  to  be  shadowy. 

"Why  do  you  not  play  with  more  tone?"  I 
asked  her. 

"Oh,  you  know,"  she  replied,  "I  can  practice 
so  little  on  the  piano  that  I  am  almost  afraid  of 
it." 

Investigation  disclosed  the  fact  that,  having  no 
piano  at  home,  she  comes  to  school  an  hour  before 
her  lesson  time  and  practises,  if  she  finds  an  un- 
occupied room.  My  belief,  in  her  case,  is  that  she 
has  opened  a  pathway  that  she  will  ever  love  to 
follow. 

Now  and  then  a  critic  arises  who,  having  in- 
vestigated the  School  only  in  the  domain  of  his 
imagination,  declares  that  we  are  trying  to  make 
musicians  out  of  the  children  of  barbers,  tailors, 
and  tinkers.  I  do  not  quite  recognize  the  crime 
in  this  effort,  but  it  does  not  fairly  state  the  case. 
Among  the  large  number  of  children  who  come  to 
us  we  find,  as  the  instances  already  cited  show, 
some  who  are  especially  gifted.  We  make  every 
effort  to  aid  them  so  that  they  may  develop  and 
be  enabled  to  help  themselves.  No  attempt  is 
made  to  fill  the  world  with  ill-prepared  music 
teachers  and  players.  That  unfortunate  supply 
takes  care  of  itself.  But  our  aim,  even  with  the 
very  least  of  those  who  come  to  us,  is  to  instill 


MUSIC  IN  SOCIAL  SETTLEMENT  WORK     129 

good  habits  of  study,  strict  attention  to  the  re- 
sponsibiHty  involved  in  becoming  a  student,  love 
for  music,  and  reverence  for  the  better  things  of 
life. 

"But,"  the  critic  adds,  "you  take  them  out  of 
their  station  in  life,  give  them  ideals  difficult  if 
not  impossible  to  attain,  and  make  them  dissatis- 
fied with  their  condition." 

This  is  true  to  an  extent ;  would  that  it  were  true 
to  a  far  greater  extent !  When  institutions  devote 
themselves  to  providing  us  with  an  ideal  difficult 
to  attain,  and  to  making  us  dissatisfied  with  our 
condition,  we  may  then  begin  to  understand  what 
it  means  to  say  "Thy  kingdom  come,"  for  the 
coming  of  the  kingdom  lies  in  pursuing  the  ideal, 
in  gaining  the  perception  and  the  strength  of  will 
to  forge  the  soul  by  swinging  the  hammer  of 
effort. 

In  opportunities  for  stimulating  individual  and 
social  betterment  the  School  is  abundantly  pro- 
vided; in  its  resources  for  meeting  the  problems 
that  lie  close  at  hand  and  for  developing  its  work 
it  is  handicapped.  I  have  referred  above  to  the 
few  cents  required  in  payment  for  lessons.  This 
small  pa}Tiient  instills  promptness,  integrity,  and 
thrift,  and  is  consequently  a  splendid  asset  in 
character  training.  We  find,  however,  that  many 
a  family  has  not  even  these  few  cents  to  spare. 
Hence  we  have  established  scholarships  which 
provide  those  who  are  worthy  with  all  necessary 
9 


I30    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

instruction  until  the  time  arrives  when  they  can 
help  themselves.  The  present  financial  depres- 
sion has  increased  the  demand  for  full  and  partial 
scholarships  beyond  our  capacity  to  provide  them. 
All  instruction  in  harmony,  in  ensemble  music, 
in  orchestra  and  choral  practice  is  free.  It  is  our 
intention  to  provide  the  new  courses  in  EngUsh 
and  all  the  technical  instruction  free  of  expense  to 
the  pupils.  Many  of  our  children  receive  not  only 
free  instruction,  but  all  the  necessary  music  and 
supplies.  The  School  library  of  books  and  music 
is  free  to  the  children  of  the  School  and  to  the 
neighborhood. 

The  school  year  extends  from  September  15th  to 
June  15th.  But  the  summer  is  no  idle  time.  In 
July  and  August  a  constant  stream  of  children 
came  in  from  the  Bast  Side  streets  to  play  in  the 
back  yard.  Here  to  the  games  of  the  streets 
were  added  the  benefits  of  organized  play;  and 
every  day  the  resident  in  charge  of  this  work 
gathered  about  her  the  boys  of  the  neighbor- 
hood, the  good  and  the  less  good,  to  hear  about 
their  favorite  heroes,  generally  the  Knights  of 
King  Arthur's  Round  Table. 

In  the  same  period  nearly  one  hundred  children 
were  provided  with  a  two  weeks'  visit  to  the 
country,  and  two  hundred  others  spent  a  day  in 
the  country. 

During  the  school  year  there  are  evening  classes 
for  those  wage-earners  who  are  unable  to  come  to 


MUSIC  IN  SOCIAL  SETTLEMENT  WORK      131 

US  before  six  o'clock;  there  are  also  a  concert  one 
evening  per  week,  and  a  regular  rehearsal  of  the 
Junior  Orchestra  on  Saturday  morning  and  of  the 
Senior  Orchestra  on  Sunday  morning.  Many 
clubs  have  been  formed  in  the  School  and  neigh- 
borhood which  meet  regularly  in  the  School 
building.  After  the  rehearsal  on  Sunday  morn- 
ing there  is  frequently  present  some  one  who 
speaks  to  the  children  on  education,  books,  read- 
ing, music,  or  citizenship.  The  audience  is  in- 
tensely attentive.  If  I  may  be  pardoned,  I  will 
refer  to  my  own  first  visit  to  the  School  in  April, 
1906.  I  spoke  to  the  children  a  few  minutes  on 
Ruskin's  "Sesame  and  Lilies."  Afterwards  the 
bad  boy  of  the  School  (he  was  a  sort  of  pugilistic 
mayor  of  the  neighborhood)  invited  me  out  into 
the  front  hall  to  discuss  the  advisability  of  estab- 
lishing a  Ruskin  Club. 

Busy  as  the  School  is  in  its  immediate  work  of 
music,  it  finds  time  and  opportunity  to  take  up 
many  collateral  activities.  Every  year  makes  us 
better  acquainted  with  the  people  of  the  neigh- 
borhood and  their  needs.  Medical  care  is  pro- 
vided for  the  children  when  necessary.  We  wel- 
come all  to  the  public  performances  given  in  the 
School,  and  they  heartily  respond  to  the  invita- 
tion. Hence  the  Music  School  Settlement  is  at 
once  a  music  school  and  a  settlement. 

I  am  often  asked  this  question:  With  whom 
is  the  School  doing  its  most  important  work? 


132    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

I  reply,  with  no  hesitation,  "With  the  Httle 
children."  If  little  Lerva  comes  to  us  early 
enough,  we  can  give  her  a  concrete  idea  how, 
through  music,  seeds  of  joy  may  be  planted,  how 
she  may  add  to  her  early  life-experience  happy 
hours  won  by  faithful  devotion  to  duty.  So  im- 
portant is  this  that  not  a  day  must  pass  without 
its  rich  contribution  having  been  made.  And 
unless  Lena  comes  to  us  in  the  first  years,  this  is 
done,  if  at  all,  with  difficulty. 

If  we  can  add  this  influence  to  life's  group  of 
remembrances  from  childhood  days,  we  feel  that 
the  community  has  gained  through  our  efforts  a 
better  citizen,  and  that  the  little  citizen  himself 
has  gained  somewhat  of  the  inheritance  of  which 
Socrates  taught  when,  in  the  streets  of  Athens, 
he  gathered  the  youth  about  him  while  he  dis- 
coursed on  the  text,  '  'The  gods  for  labor  sell  us  all 
good  things." 

Now  this  Settlement  School,  under  the  wise 
direction  of  its  present  officers  and  directors,  is 
not  attempting  to  make  musicians.  It  may  do 
so  in  the  future,  as  it  has  in  the  past,  but  its  main 
effort  is  to  work  toward  that  abundance  of  life 
of  which  we  have  biblical  promise.  The  School 
is  primarily  a  center  of  influence,  an  enrichment 
of  the  mind,  a  source  at  which  the  young  people 
who  attend  it  may  gain  a  broader  outlook  upon 
the  possibilities  of  life.  There  is  no  more  potent 
influence  in  the  life  of  the  active  boy  and  girl 


MUSIC  IN  SOCIAL  SETTLEMENT  WORK     133 

than  music,  but  it  must  be  brought  before  them 
so  that  they  are  aroused  by  its  vitality.  To  do 
that  is  the  everlasting  quest  of  the  teacher.  To 
instill  that  interest  is  decidedly  an  investment  in 
citizenship. 

Boys  and  girls  see  the  sidewalks  and  the  street- 
corners  because  they  are  the  only  available  club 
houses  usually  at  their  disposal.  These  gathering 
places  appeal  fundamentally  to  the  negative  side 
of  their  activity.  And  yet,  as  it  has  been  pointed 
out  by  a  writer:  "Every  boy  on  every  comer  is 
not  necessarily  a  bad  boy,  nor  is  every  gang  a  bad 
gang."^ 

The  fact  that  he  is  not  a  bad  boy  is  the  promise 
of  another  fact,  namely,  he  need  not  become  one. 
Hence,  the  Music  School  Settlement  is  doing,  as 
we  have  said,  a  distinct  work  in  citizen-building, 
and  it  is  doing  it  in  the  one  logical  manner,  by 
directing  the  energy  of  children  upon  something 
that  appeals  to  the  full  round  of  inner  impulse. 
It  does  not  merely  gather  children  together.  Nor 
does  it  attempt  merely  to  entertain  them.  But 
it  sets  them  to  work  uncovering  and  developing 
whatever  talent  they  may  have,  be  it  much  or  very 
little,  and  in  this  urgency  to  self-expression  is 
its  great  civic  and  individual  value  discovered. 

Wherever  schools  of  this  kind  spring  up  in  the 
congested  quarters  of  our  large  cities  they  imme- 
diately   begin    to    mold    character  if   they   are 
1  Arthur  I.  Peckham,  in  the  Boston  Herald. 


134    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

rightly  conducted.  Teachers  who  attempt  this 
work  must  study  the  social,  neighborhood,  and 
civic  problem  equally  with  the  music.  "The 
reason,"  says  the  writer  quoted  above,  "why  the 
boy  (and  girl)  is  on  the  street  is  not  hard  to 
discover.  He  is  on  the  street  because  he  is  not 
wanted  in  the  house.  In  the  cramped  quarters 
where  many  are  gathered  in  a  few  rooms  there  is 
no  place  for  the  restless  activity  of  the  boy." 

One  of  the  most  remarkable  evidences  of  the 
work  accomplished  by  the  Music  School  Settle- 
ment is  found  in  its  influence  upon  the  home.  It 
has  brought  the  home  members  to  the  school,  and 
the  school  sends  its  influence  into  the  home 
every  time  the  boy  and  girl  return  with  their  next 
lesson.^ 

*  See  Appendix,  page  208, 


CHAPTER  XVI 


EFFICIENCY 


No  word  is  more  popularly  used  than  "Effi- 
ciency." We  meet  it  in  conversation  and  in 
literature,  finding  it  applied  to  all  forms  of 
activity.  The  underlying  principles  of  efficiency, 
once  put  into  working  order,  produce  more  work 
from  the  manual  laborer  with  more  direct  ap- 
plication of  his  skill  and  strength. 

Efficiency  is  the  spirit  of  the  application  of 
education  to  life.  In  this  connection,  it  is  not  a 
method  of  action  to  be  applied  always  in  the  same 
way,  but  rather  a  means  by  which  larger  self- 
expression  is  secured. 

Inquiry  as  to  the  particulars  in  which  the 
teacher  may  study  and  apply  the  lessons  of 
efficiency  reveals  many  opportunities  for  the 
simplification  and  improvement  of  processes. 
For  his  purposes,  efficiency  may  be  considered  as : 
I.  Mental. 
II.  Physical. 

III.  Environmental. 

I.  Mental  Efficiency  is  that  systematic  order- 
ing of  thought  that  allows  us  to  proceed  in  the 
most  direct  line  from  the  thought  itself  to  the 

135 


136    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

thing  for  which  the  thought  stands.  It  concerns 
itself  with  organizing  work,  time,  and  the  conduct 
of  affairs,  resulting  in  a  systematic  arrangement 
that  is  the  outer  manifestation  of  a  definitely- 
ordered  plan  of  procedure. 

II.  Physical  Efficiency  results  from  the  mental 
control  of  the  body  that  makes  it  the  willing  and 
obedient  servant  of  the  thinking  faculty.  In  this 
it  will  consider  training  for  fitness,  endurance, 
power,  and  adaptability. 

III.  Environmental  Efficiency  is  the  technic 
that  permits  us  to  use  our  surroundings  intelli- 
gently, as  against  our  being  used  by  the  environ- 
ment passively. 

The  establishment  of  these  three  forms  of 
Efficiency  is  possible  only  when  the  Reason 
(or  the  Master  Faculty  of  Epictetus)  assumes 
rightful  control  in  individual  life,  and  produces  a 
mind  and  body  that  can  work  with  and  employ 
environment  and  its  resources  creatively  and  after 
its  own  manner. 

Efficiency  is  impossible  except  it  be  established 
at  a  center.  This  center  must  be  an  occupation 
of  some  kind.  In  this  occupation  there  must  be 
enough  involved  to  produce  individual  training 
of  high  order.  The  work  of  the  music  teacher 
touches  Ufe  at  so  many  points  that  he  can  realize 
but  little  on  his  total  of  power  unless  by  organiza- 
tion he  acquires  a  direct  and  forceful  method  of 
employing  his  resources.     Such  a  method  is  pos- 


EFFICIENCY  137 

sible  only  when  one  is  alive  to  the  fearful  conse- 
quences of  becoming  the  victim  of  fixed  habits 
that  make  for  the  minimum  of  activity.  Effi- 
ciency, therefore,  constantly  calls  upon  us  to  ex- 
pend energy  in  new  and  better  accomplishment, 
in  an  improved  way  of  thinking  and  doing  that 
is  discovered  and  applied  irrespective  of  the  per- 
sonal trouble  involved  in  it.  Seekers  after  com- 
fort are  invariably  inefficient  in  their  work 
because  in  this  case  the  object  of  all  action  is 
ease.  Attainment,  however,  must,  first  of  all, 
dismiss  comfort  as  an  end  in  itself,  and  must  seek 
to  find  liberty  in  a  definite  fulfillment  of  the  law 
of  direct  action. 

Let  us  take,  by  way  of  illustration,  Speech 
efficiency.  By  his  more  or  less  exact  knowledge 
of  words  the  teacher  conveys  his  ideas  to  his 
pupil,  and  he  receives  ideas  from  others  either  in 
person  or  through  books.  Music  teaching  re- 
quires the  use  of  two  classes  of  words:  (a)  those 
that  are  technically  peculiar  to  the  art;  (b)  those 
that  are  not.  There  are  comparatively  few  of  the 
former,  and  some  hundreds  of  thousands  of  the 
latter.  Manifestly,  he  should  know  thoroughly 
the  technical  terms,  and  possess  a  general  vocabu- 
lary of  other  words  that  is  sufficient  for  his  pur- 
poses. Now,  all  words  have  exact  meanings,  and 
the  first  step  in  the  efficient  mastery  of  technical 
terms  is  to  discover  the  root  meaning  of  each 
and  to  watch  its  efect  in  action;  that  is,  to  observe 


138    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

how  it  plays  its  part  in  our  effort  to  express  thought 
with  it. 

This  involves  mastering  each  technical  term 
separately  by  tracing  its  meaning  and  watching 
the  play  of  that  meaning  in  all  sorts  of  contrast. 
A  single  line  from  an  essay,  by  Charles  Lamb, 
will  illustrate  this:  "(There  were)  swans  more 
than  sang  in  Cayster."  The  words  here  italicized 
are  intended  to  convey  an  absolutely  exact 
picture;  it  is  not  a  hazy  reference,  but  a  clear  cut 
image.  This  image  can,  in  no  instance,  result 
as  it  should  unless  we  establish  a  definite  relation 
between  "swans"  and  "Cayster."  This  can  only 
be  done  when  the  reader  is  willing  to  get  up  from 
his  chair  and  find  the  information  in  the  book  or 
books  that  contain  it. 

Thus,  speech  efficiency  requires  not  only  much 
mental  ordering,  but  a  ceaseless  amount  of  mental 
and  physical  activity;  and  with  it  the  spoken 
use  of  words  that  brings  them  into  the  vital 
relationship  of  life. 

Just  as  the  effort  to  attain  speech  efficiency 
leads  to  the  cultivation  of  exact  habits  in  the 
mental  organization,  some  find  like  power  of 
organization  to  evolve  in  the  effort  to  establish 
Time  efficiency. 

Time  efficiency  results  from  the  mental  grasp 
of  the  hours  at  our  disposal  that  makes  them  bear 
most  directly  upon  the  work  we  have  to  perform. 
Thus,  business  men  lay  out  the  day,  so  to  speak, 


EFFICIENCY  139 

by  arranging  work  in  such  order  and  sequence 
that  the  most  can  be  accomplished  in  the  least 
time,  consistent  with  excellence.  Every  motion 
is  a  time  consumer.  Hence  a  careful  considera- 
tion of  motions  is  the  first  step.  Into  every  day 
certain  activities  fall  that  must,  by  their  very 
nature,  become  automatic.  Creative  work  can 
never  become  automatic;  in  a  sense,  it  seeks  its 
favorable  time.  But  the  amazingly  logical  and 
persistent  use  of  time  as  evidenced  by  Beethoven 
shows  that  genius  need  not  wait  two  hours  for 
the  sake  of  ten  minutes  of  fancied  inspiration. 

Readers  of  Mr.  Arnold  Bennett's  charming 
book,  entitled  How  to  Live  on  Twenty-four  Hours 
a  Day,  will  recall  the  sane  suggestions  he  makes  for 
an  efficient  organization  of  a  day's  time.  But 
failure  is  inevitable  unless  we  see  one  supreme 
fact  clearly,  and  that  fact  is  this:  The  individual, 
the  real  self,  stands  above  the  mind,  the  body, 
and  the  environment,  and  is  not  merely  merged 
in  them.  This  elevated  position,  which  is  noth- 
ing less  than  our  divinely  rightful  place,  imme- 
diately throws  mental,  physical,  and  environmen- 
tal life  out  from  us  into  objectivity.  Once  we 
attain  that  position,  organization  becomes  simple. 
So  long,  however,  as  the  higher  or  inner  self 
is  immersed  in  the  lower  or  outer  planes,  we  lose 
their  objectivity  and  fail  to  control  them. 

We  have  already  quoted  the  statement  that 
"what  most  people  do  most  of  the  time  is  wrong." 


I40    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

This  statement  is  significant  in  this :  it  draws  our 
attention  to  the  fact  that  the  common  habit  of 
action  is  a  habit  that  is  common;  whereas  the 
teUing,  convincing  type  of  action  is  always  that 
which  is  uncommon.  The  young  lady  who  de- 
cided to  join  a  chorus  "because  the  other  girls 
were  joining"  exhibited  a  fair  type  of  mental 
action  prompted  by  a  cause  outside  of  the  intel- 
lectually inquiring  self.  And  the  young  lady 
discovered  this  fact,  for,  having  no  voice,  the 
chorus  director  found  no  place  for  her. 

It  is  almost  proverbial  that  the  busiest  men 
have  plenty  of  time.  The  reason  is,  of  course, 
that  with  them  all  time  is  made  to  count.  The 
late  Mr.  Keppel  has  written  that,  calling  upon  the 
artist  Whistler  one  day  when  the  latter  was 
busier  than  usual,  he  was  met  with  the  gruff 
statement,  "I  can  give  you  just  five  minutes." 
Mr.  Keppel  stated  the  purpose  of  his  visit,  and  it 
resulted  in  Whistler  spending  the  entire  day  with 
him.  This  was  not  whim  or  fancy,  but  consequent 
of  control  over  circumstances  that  found  time 
where  there  seemed  to  be  none.  A  traveling 
salesman  who  was  desirous  of  increasing  his 
education,  and  having  no  time  at  home  to  devote 
to  that  end,  planned  a  course  of  study  to  be  pur- 
sued as  he  journeyed  on  business  by  train  from 
one  city  to  another.  In  every  business  house 
the  person  who  can  simplify  a  single  action  or 
series  of  actions  so  that  as  much  or  more  work  is 


EFFICIENCY  141 

accomplished  more  rapidly,  easily,  and  directly 
is  an  efficient  helper. 

Now,  to  the  music  teacher,  all  phases  of  effi- 
ciency that  we  have  mentioned,  and  many 
more,  are  means  of  attainment,  but  no  less  im- 
portant is  his  capacity  to  produce  an  efficient 
pupil.  To  this  end,  he  will  actually  study  out 
for  every  pupil  he  has  (not  dream  about  it,  but 
actually  work  out)  a  plan  of  action.  It  may 
involve  report  cards,  practice  schedule,  and  the 
like,  but  primarily  it  will  aim  to  teach  the  pupil 
to  put  his  music  lesson  on  a  business  basis.  It 
will  specify  so  much  daily  practice  distributed  in 
a  definite  manner.  He  will  make  it  clear  to  the 
pupil  that  his  appointments  with  the  teacher  are 
important,  that  they  demand  preparation,  prompt 
attendance,  and  exactly  as  good  team  work  from 
him  as  he  is  willing  to  give  when  he  plays  short 
stop.  The  teacher  must  not  casually  mention 
these  facts,  but  he  must  drive  them  home  by 
reason  and  insistence.  This  will  result  in  a  work- 
ing organism  that  attends  to  business,  an  asset 
that  will  be  forever  valuable,  whether  the  pupil 
has  talent  in  music  or  not. 

We  have  too  long  been  accustomed  to  regard 
the  great  artist  as  a  creature  of  vagaries  that  are 
to  be  overlooked  because  they  spring  from 
genius.  No  one,  however,  overlooks  the  actions 
of  a  gentleman  who  purloins  other  people's  goods 
and  chattels  on  the  same  plea.     The  irregularities 


142    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

of  the  artistic  life,  in  the  comparatively  few  in- 
stances where  we  find  them,  simply  rob  that  life 
of  so  much  potentiality.  They  are  signs  of  weak- 
ness and  lack  of  control  that  are  as  far  from 
efficiency  as  human  nature  can  go. 

If  the  teacher  will  say  to  himself:  "I  am  a 
business  organization,  and  I  am  going  to  put 
myself  on  a  working  basis  that  makes  the  most 
of  my  power,  time,  and  increasing  knowledge," 
he  will  have  taken  the  first  decisive  step  toward 
becoming  an  efficient  member  of  his  profession. 


CHAPTER  XVII 


SELF-EXPRESSION   IN  MUSIC 


Speech  efficiency  is  only  possible  through  a 
vast  amount  of  speech  experience.  This  in- 
volves the  thinking,  speaking,  writing,  and 
reading  of  words,  all  combined  with  an  intensive 
study  of  words  as  conveyors  of  the  most  delicate 
shades  of  meaning,  in  the  best  literature.  This 
speech  experience  is  common,  to  an  extent,  to 
nearly  all  people,  and  yet  the  efficient  use  and 
appreciation  of  words  in  speech  and  in  literature 
is  comparatively  uncommon.  But  to  whatever 
degree  we  are  capable  in  this,  to  that  degree  and 
no  more  are  we  appreciative  of  our  mother  tongue 
in  its  various  forms  of  expression. 

When  we  compare  this  extremely  active  speech 
experience  with  the  music  experience  of  the  aver- 
age teacher  and  pupil,  we  are  at  once  struck  with 
the  paucity  of  expression,  in  the  music  language, 
common  to  most  of  us.  By  our  process  of  edu- 
cation music,  as  a  language,  too  frequently  appeals 
only  objectively  to  the  intellect;  and  in  too  few 
cases  does  it  penetrate  into  the  consciousness  and 
become  a  working  principle.  And  yet,  until  it 
does  this,  its  spirit  must  necessarily  elude  us;  we 

143 


144    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

fail  to  express  ourselves  in  the  language,  and  to 
no  less  a  degree  do  we  fail  to  grasp  those  shades 
of  meaning  that  constitute  its  finer  manifesta- 
tions in  the  works  of  distinguished  composers. 

While  the  best  systems  of  musical  instruction 
provide  for  the  full  round  of  experience,  as 
instanced  above  in  the  case  of  English,  the  pupil 
(and  the  teacher  into  which  the  pupil  develops) 
is  inclined  to  persist  in  regarding  music  as  en- 
tirely an  objective  experience,  and  by  limiting 
the  forms  of  practice  necessary  to  master  it  as 
thought  activity,  to  store  up  comparatively 
little  subjective  experience  that  manifests  as 
habit  or  impulse. 

It  may  be  said,  without  unfairness,  that  the 
usual  result  of  a  long  course  of  music  study 
familiarizes  the  student  with  it  to  no  greater  ex- 
tent than  takes  place  in  the  serious  study  of  a 
foreign  language. 

Here  we  gain,  ordinarily: 

1.  The  ability  to  read  the  language  (with  the 
eye),  often  haltingly. 

2.  Some  knowledge  of  its  grammatical  struc- 
ture. 

3.  A  more  or  less  faulty  pronunciation. 

4.  The  ability  to  repeat  certain  phrases,  or  even 
memorized  selections. 

But  our  limitations  are  these: 

5.  We  do  not  think  spontaneously  in  the  lan- 
guage. 


SELF-EXPRESSION  IN  MUSIC  145 

6.  Our  knowledge  of  its  grammatical  structure 
remains  objective,  instead  of  becoming  subjective 
(or  "second  nature,"  as  the  subjective  is  often 
called). 

7.  In  consequence  of  No.  5,  we  do  not  speak 
the  language  freely  enough  to  make  it  a  ready- 
medium  of  self-expression. 

8.  We  fail,  then,  to  wTite  it. 

9.  And  there  is  always  present  the  experience 
of  failing  to  grasp  the  words  of  the  language  when 
they  are  spoken  by  a  native.  That  is,  the  ear  is 
not  trained  to  delicacy  and  rapidity  of  reception 
of  sound. 

This  series  of  foreign  language  experiences  is 
almost  literally  true  of  the  experience  in  music 
on  the  part  of  the  pupil  who  is  not  fully  devel- 
oped.    Translated  into  terms  of  music: 

1.  We  do  not  read  the  music  (either  at  the  key- 
board or  away  from  it)  with  perfect  freedom. 

2.  Our  knowledge  of  its  grammatical  structure 
(based  on  the  study  of  the  subjects  given  under 
musical  theory,  Chapter  V'll)  is  as  practical  as  we 
apply  our  theoretical  knowledge,  and  no  more  so. 

3.  There  is  evident,  both  in  the  vocal  and 
keyboard  efifort  to  express  ourselves  in  music,  a 
faulty  pronunciation;  that  is,  an  absence  of 
natural  ease  with  tone  and  mastery  of  it. 

4.  We  can  in  music,  as  in  the  foreign  language, 
play  (repeat)  the  works  of  others,  but  none  of  our 
own. 

10 


146    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

5.  Very  few  ever  fully  master,  even  to  an  ele- 
mentary degree,  the  art  of  thinking  in  tone. 

6.  The  evidences  of  musical  structure  on  the 
printed  page  are  not  immediately  (frequently 
not  at  all)  observed. 

7.  Again,  in  consequence  of  No.  5,  music  is  not 
a  medium  for  actual  je//-expression. 

8.  We  do  not  habitually  (and  with  pleasure) 
write  the  language. 

9.  And,  finally,  when  we  hear  music,  just  as 
when  we  hear  the  foreign  language,  we  fail  to  a 
greater  or  less  degree  to  take  it  in.  Generally 
we  can  neither  repeat  what  we  hear,  nor  can  we 
write  it. 

From  these  parallel  statements  of  experiences 
that  are  not  far  from  being  identical,  one  can 
readily  see  wherein  the  mastery  of  the  language 
consists.  It  is  in  this:  To  practise  persistently 
all  the  vital  processes  of  music  until  they  become 
perfect  impulses  for  self-expression.  Then  the 
question  arises: 

Why  did  not  our  teachers  perfect  us  in  the 
active  practices  of  these  principles  so  that  we  are 
now  fully  capable  of  using  them?  The  answer  is 
interesting:  Everyone  must  take  up  his  own 
cross.  It  is  absolutely  impossible  for  the  in- 
structor to  grow  for  the  pupil.  The  instructor 
can  supply  everything  necessary  to  stimulate 
growth,  and  there  his  power  ceases.  We  find 
this  to  be  true  in  our  own  experience  with  our 


SELF-EXPRESSION  IN  MUSIC 


147 


pupils.     To  the  extent  that  they  accept  and  apply 
they  become  capable  of  self-expression. 

And  exactly  this  condition  was  true  in  our 
student  days.  We  have  all  been  taught  vastly 
more  than  we  have  assimilated.  The  young  man 
and  woman  may  betray  in  conversation  a  com- 
paratively small  intellectual  curve.  If  they  have 
been  educated  only  through  the  High  School 
they  have  pursued  these  subjects  (and  perhaps 
this  list  is  not  complete) : 

Reading  f  European  Physiology 

Writing  1  History  Latin 

Spelling  Arithmetic        French 

Enghsh  Grammar  Algebra  German 

and  Literature  Geometry         Botany 

Geography  Music  Chemistry 

American  History  Civics  Physics 


Had  even  a  small  portion  of  this  passed  beyond 
the  portal  of  the  intellect  and  reached  the  con- 
sciousness, the  individual  would  be  a  surprisingly 
interesting  conversationalist.  The  inability  to 
reveal  such  a  consciousness  is  always  explained  in 
the  statement  that  this  list  of  subjects  has  been 
pursued,  for  the  most  part,  as  mental  training. 
Assuming  this  is  a  fair  explanation,  the  music 
teacher  has  received  a  vast  amount  of  mental 
training  that  should  make  him  capable  of  supplying 
his  own  deficiencies  at  any  time  in  life.  These  de- 
ficiencies are  stmmied  up  in  his  inability  to  ex- 


148    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

press  himself  readily,  interestingly,  and  ade- 
quately in  music.  Unless  he  is  content  to  remain 
outside  the  pale  of  the  art  by  which  he  sustains 
himself,  he  will  begin  a  system  of  self-training 
that  will  enable  him  to  do  all  the  things  we  have 
listed  above  as  representing  what,  as  a  rule,  he 
cannot  do.  Four  lines  of  activity  pursued  daily 
will  eventually  liberate  him.  He  must  think, 
read,  write,  and  listen  to  music. 

In  music  thinking,  the  systematic  study  of 
melody  composition  will  uncover  the  spring,  if 
there  be  one  within  him,  and  it  will  serve  at 
the  same  time  for  practice  in  music  writing.  The 
composition  of  a  half-dozen  melodies  now  and 
then  will  not  liberate  him.  He  must  think  them 
out  by  scores  and  hundreds  and  thousands,  write 
them  properly,  study  any  literature  he  can 
secure,  and  go  on  thinking  and  writing  more  and 
more  of  them. 

If  the  printed  page  does  not  reveal  the  tonal 
message  to  him  clearly,  he  should  begin  to  read 
the  very  simplest  music  he  can  find,  a  single 
melody  Hne  at  a  time.  It  may  be  necessary  for 
him  to  begin  with  the  four-measure  phrases  of  a 
school  music  reader.  If  so,  let  him  begin  that 
way.  Such  exercises  are  about  as  complex  as 
the  English  sentence: 

See  the  red  apple. 

He  reads  that  and  can  see  the  apple.  He  does 
not  need  to  turn  to  a  book  of  colors  first  to  find 


SELF-EXPRESSION  IN  MUSIC 


149 


what  red  is,  so  that  the  mental  picture  shall  be 
accurate. 

To  secure  an  actually  vivid  mental  impres- 
sion of  this  next  sentence,  he  should  need  no 
more  outside  assistance  than  the  pitch  of  the  first 
tone  to  read  a  phrase  that  is  not  more  complex 
than  that  about  the  apple: 


$ 


4-4- 


1-4. 


S 


m'£^^- 


m 


i^ 


i;*^ 


All  his  music  student  life  has  afforded  him  no 
end  of  suggestions  for  the  centralizing  of  tone. 
He  may  be  able,  by  keeping  strict  account  of  the 
figuration,  to  add  the  upper  parts  to  a  bass;  and 
little  good  it  does  unless  one  can  hear  the  entire 
result  of  the  four  interrelated  parts.  An  inter- 
esting test  with  such  an  exercise  as  follows  is  to 
sing  the  required  soprano,  then  alto,  then  tenor, 
without  playing  or  writing  them. 


3    6 

9  8 

6 
4     7 

4    3 

6    6 

4  3 

"7 

•i9- 

■/•>'0 

"" 

Vj.tt^ 

P     , 

.   1     1 

/T}    f^ 

^~. 

1 

t^J'J,      ^ 

\- 

V-^o  r>  1 

\     \ 

1        1 

'/^  ^ 

;    i 

(^ 

1 

A\ 

«* 

t  ■  ' 

i-   1  . 

1 

1     ' 

r^ 

Then,  further,  all  the  reverse  of  the  reading  and 
thinking  process  should  be  persistently  practised; 
that  is,  the  ability  should  be  cultivated,  until  it 


150    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

is  letter  perfect,  to  write  music  from  dictation. 
Then  the  language  begins  to  live  on  a  vital  basis. 
Several  excellent  text-books  on  Musical  Dicta- 
tion have  recently  appeared.  Their  common 
purpose  is  to  provide  a  plan  of  action.  (Action 
is  the  essential  word.)  If  the  student  of  the 
subject  does  not  possess  the  gift  of  absolute  pitch 
he  cannot  definitely  locate  a  single  tone,  but 
he  can  learn  to  establish  two  or  more  tones  in 
their  interval  or  scale  relation.  This  is  the  basis 
of  Dictation  Study  in  the  public  schools.  There, 
it  is  true,  some  one  dictates  to  someone  else;  a 
process  impossible  to  the  person  who  is  working 
alone.  But  still,  there  is  an  abundance  of  possible 
practice  even  in  this  case.  The  music  we  remem- 
ber, especially  song  melodies,  the  music  we  hear 
daily  should  be  translated  into  its  scale  relation. 
Even  children,  pursuing  tone-study  independently, 
often  report  peculiarly  interesting  observations. 
An  experiment  made  with  a  class  of  children 
(many  of  them  blind)  ranging  from  seven  to  thir- 
teen years  of  age  will  illustrate  this. 

They  were  requested  to  listen  and  to  record  the 
sounds  they  heard  in  a  given  half -hour;  and  to 
specify  the  sounds  that  were  musical  and  non- 
musical.     A  blind  girl  wrote  this: 

1.  I  heard  the  rising  bell  (musical). 

2.  I  heard  a  horse  neigh  (noise). 

3.  I  heard  a  boy  clapping  his  hands  (noise). 

4.  I  heard  the  breakfast  bell  (musical). 


SELF-EXPRESSION  IN  MUSIC  151 

Here,  however,  is  more  definite  evidence  of  in- 
herent tone-sense: 

1.  Heard  a  boy  whistling  in  the  key  of  D. 

2.  A  door  squeaked  in  the  key  of  C. 

3.  I  heard  my  teacher  say  "Hello"  (musical). 

4.  Bell  (one  line  E». 

5.  Pedler's  cry  (chord  of  E  major). 

6.  Water  boiling  (A  major). 

Is  such  observation  of  tone,  on  the  part  of  children, 
of  any  practical  value? 

In  reply  I  would  recall  to  the  reader  the  in- 
stance of  the  boy  who  began  his  investigation  of 
the  mysteries  of  the  piano  by  picking  out  tunes 
with  one  finger.  He  gave  evidence  of  good  pre- 
liminary material  with  which  to  inaugurate  a 
training  in  art. 


CHAPTER  XVIII 


MUSICAL  COMPOSITION 


We  have  seen,  in  the  previous  chapter,  that  the 
simplest  effort  at  self-expression  in  music  has  for 
the  ultimate  purpose  the  establishing  of  tonal 
consciousness.  Tone  must  become  the  material 
for  thought  process  or  its  messages  may  never  be 
deeply  read. 

It  has  also  been  pointed  out  that  general 
school  training  is  far  more  extensive  as  a  process 
of  intellectual  awakening  than  it  is  as  a  direct 
means  for  establishing  even  a  slight  degree  of 
intercommunicability  between  the  mind  of  the 
learner  and  the  mental  processes  involved  in  his 
books.  Likewise,  the  well-prepared  music  student 
receives  far  more  training  than  he  ever  transforms 
into  power.  And  he  fails  to  see  that  music  theory 
is  not  a  series  of  interrelated  facts  alone,  but  a  line 
of  vital  processes.  The  vitality  in  these  processes 
must  be  translated  by  him,  through  action,  into 
personal  power. 

Now  the  attainment  of  personal  power  in  the 
handling  of  tone  material  means  nothing  less 
than  that  the  teacher  must  employ  it  creatively. 
He   may   not   possess    the    slightest    genius   for 

152 


MUSICAL  COMPOSITION 


153 


composition,  and  yet  he  cannot  afford  to  be  less 
than  thoroughly  familiar  with  the  processes  of 
composition,  nor  can  he  afford  not  to  practise 
them. 

Shall  he  become  a  composer?  To  this  query, 
the  frequent  reply  of  Epictetus  may  not  be 
amiss :  God  forbid.  He  may  assume  to  have  no 
skill  as  a  writer  of  English  speech,  and  yet  he 
writes.  In  Hke  manner,  let  him  compose  to  the 
end  that  the  simpler  ways  of  spinning  tone 
material  may  become  familiar  to  him.  A  funda- 
mentally wrong  perception  of  music  may  come 
to  the  student  who  labors  over  a  harmony  ex- 
ercise as  varied  in  chords  as  this  (from  a  text- 
book on  Harmony): 


154    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

He  may  look  through  page  after  page  of  the 
music  of  the  writers  of  the  Classic  School  and 
fail  to  find  eight  measures  so  diversified  har- 
monically as  these.  The  composer  learns  the 
art  of  spinning  his  chords  into  melody  lines;  and, 
in  consequence,  his  chord- variety  is  slight,  but  his 
forms  of  presentation  are  manifold.  The  teacher 
has  only  to  compare  the  above  harmonic  suc- 
cession with  the  following  to  be  convinced  of  the 
difference. 


If  the  student  days  (under  an  instructor)  are 
passed,  one  may,  nevertheless,  learn  music  by 
persistently  writing  simple  pieces.  The  easy 
teaching   pieces   of   GurUtt,  Volkmann,  Kullak, 


MUSICAL  COMPOSITION  15$ 

Heller,  and  many  others  are  desirable  models. 
The  first  step  is  Analysis.     This  involves: 

1.  How  many  different  chords  are  used? 

2.  In  what  order  do  they  appear? 

3.  What  is  the  balance  of  Phrases? 

Then  with  this  information,  let  imitative  writ- 
ing follow — in  which  the  chord  sequence  is  re- 
tained, while  variations  of  rh>i:hm  and  meter  give 
the  problem  some  little  play  for  originality.  Such 
imitative  work  is  parallel  with  the  High  School 
and  College  work  of  constructing  an  essay  on 
Reading  assignments.  It  does  not  call  for 
origination,  but  for  adaptation  of  given  means  for 
the  purpose  of  establishing  a  mental  technic. 
Comparatively  few  "imitations"  of  this  kind  will 
be  necessary  before  the  writer  will  find  that  a 
technical  skill  for  handling  tone  material  is 
actually  forming. 

It  is  to  be  hoped,  however,  that  the  "composi- 
tions" resulting  from  these  simple  laboratory 
experiments  will  not  prove  embarrassing  property 
to  the  writer.  What  we  are  aiming  to  attain  is 
Skill,  and  not  Opus  numbers.  A  vast  proportion 
of  such  writing  is  literally  useless  as  music. 
Of  what  good,  then,  is  it  to  spend  time  in  pro- 
ducing music  that  is  useless?  The  good  lies  in 
the  information,  insight,  and  the  appreciation  of 
how  even  simple  music  is  written.  And  the 
further  good,  the  more  important  fact,  is  this: 
Music  writing  stimulates  the  faculty  of  musical 


IS6    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

analysis,  which  is  the  most  essential  process 
within  the  domain  of  musical  pedagogy. 

Much  of  the  study  of  musical  theory  is  useless 
to  the  majority  of  students  because  it  is  unapplied. 
And  yet  this  study  rarely  includes  that  one  de- 
partment which  is  of  constant  practical  use  to 
the  music  teacher,  namely.  Musical  Form  Anal- 
ysis. For  some  hidden  and  mysterious  reason 
this  subject  is  supposed  to  be  practical  only  to 
the  student  of  composition.  As  a  matter  of  fact, 
it  is  the  basis  of  all  piano  teaching  especially, 
and  in  it  lies  the  secret  of  musical  memory. 

Let  us  suppose  the  teacher  is  working  with  a 
pupil  on  the  first  movement  of  the  Beethoven  F 
minor  Sonata  (Op.  2,  No.  i).  This  movement 
is  to  be  learned  technically  and  memorized  for 
recital  performance.  The  process  may  be  one 
of  two: 

1 .  A  vigorous  cutting  of  one's  way  through  the 
jungle  of  the  five  pages,  and  remembering  the 
steps  by  sheer  force  of  severe  intellection.     Or, 

2.  A  systematic  arrangement  of  the  five  pages 
of  music  into  its  components,  and  the  study  of 
each  component  as  a  separate  (and  yet  intimately 
associated)  unity. 

Even  a  few  hours'  reading  of  a  Musical  Form 
text  will  enable  the  teacher  to  render  the  pupil 
intelligent  assistance  in  this  matter. 

What  is  the  topography  of  this  new  country, 
called  a  Sonata  movement? 


MUSICAL  COMPOSITION  157 

It  begins,  proceeds  to  a  double  bar,  and  repeats. 
Then  it  moves  on  over  a  larger  stretch  of  measures 
and  arrives  at  a  double  bar  which  does  not  call  for 
a  repeat,  thus: 


48  measures     ||  104  measures 


Why  is  the  second  part  so  much  longer  than  the 
first?  Examination  of  the  104  measures  shows 
that  they  embody  a  repeat  of  all  the  first  part, 
and  that  the  movement  is  not  twofold,  as  the 
double  bars  indicate,  but  threefold,  as  the  inner 
structure  indicates.     Hence: 


(A)  48  measures' 1 1  (B)  52  measures  |  (A)  52  measures  | 

48  4-4 

This  plan  reveals  to  the  pupil  that  instead  of 
having  to  grasp  one  hundred  and  fifty-two 
measures  of  music,  without  interrelation,  his 
task  is  the  comparatively  simple  one  of  memor- 
izing three  portions  of  48,  52,  and  52  measures 
respectively. 

If,  however,  the  teacher  will  spend  the  neces- 
sary few  minutes  to  show  that  this  is  by  no 
means  all  the  simplification  that  can  be  made, 
he  will  still  further  lighten  (or,  at  least,  make 
comprehensible)  the  memory  task.  The  first 
forty-eight  measures  are  clearly  not  one  piece  of 


158    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

music,  but  four.  Let  it  suffice  here  to  show  that 
the  normal  structure  of  music  creates  balance 
and  contrast  that  make  memorizing  far  simpler 
than  could  otherwise  be  the  case. 


A 
Measures 

B 
Measures 

c 

Measures 

1-48. 

49-100. 

101-152, 

Sm.  First    Subject 
in  F  minor. 

I.     8m.    First    Subject 
in  F  minor. 

12m.  Episode. 

2im.  Second     Sub- 
ject in  A  flat. 

52  measures 

Made  up  largely  ot 
thematic  material  used 
in  measures  1-48. 

2.  iim.   Episode. 

3.  2im.  Second     Sub- 

ject in  F  minor. 

7m.  Closing  Group. 

4.  12m.  Closing  Group 
and  Coda. 

Hence,  we  discover  that  what  at  first  sight 
appears  to  be  a  long  and  involved  composition, 
is  really  as  carefully  laid  out  as  an  architect's 
plan  for  the  room-division  of  a  floor  area.  This 
same  plan  of  analysis  applied  to  the  easier  teach- 
ing pieces  reveals  just  as  logical  a  subdivision, 
and  so  offers  a  way  for  simplification  of  memor- 
izing the  music.  And  not  only  is  it  easier  to 
memorize  the  music  with  this  knowledge  of  it, 
but  the  mind  works  by  plan  and  not  by  sheer 
force.  We  see,  therefore,  aside  from  its  content 
and  meaning,  that  good  music  is  distinguished 
from  poor  in  the  structural  sense  also — just  as 
a  well-conceived  architectural  plan  produces  a 
building  that  is  far  more  practical  and  artistic 
than  a  mere  shack  could  be.     Furthermore,  the 


MUSICAL  COMPOSITION  159 

working  out  of  a  plan  such  as  the  above  teaches 
us  some  interesting  facts  about  the  composer's 
method  of  doing. 

1.  He  is  systematic  in  the  presentation  of  his 
ideas. 

2.  The  same  thematic  material  is  used  over  and 
over  again. 

3.  Part  answers  (corresponds  to)  part.  Hence, 
there  is  much  both  of  similarity  and  identity. 

4.  The  structural  plan  is  progressive ;  it  unfolds 
by  the  Law  of  Growth. 

It  is  suggested  in  another  chapter  that  the 
teacher  make  a  hbrary  of  the  Teaching  Material 
he  finds  worthy  of  constant  use.  Every  one  of 
these  compositions  should  be  carefully  "planned" 
out,  as  we  have  illustrated  with  the  Beethoven 
Sonata,  and  the  underljdng  plan  should  be 
sketched  out  for  the  pupil,  to  be  committed  to 
memory  before  he  attempts  to  memorize  the 
music.  If  his  memory  be  naturally  absorptive 
and  retentive,  the  structural  plan  of  music  will 
assist  him.  If  his  memory  be  poor,  the  structural 
plan  will  strengthen  and  develop  it. 

In  the  following  chapter  the  memorizing  (by 
analysis  and  comparison)  of  a  very  simple  teach- 
ing piece  is  considered. 


CHAPTER  XIX 

THE   BASIS   OF   MUSIC   MEMORY 

Many  people  memorize  music  with  ease. 
They  seem  to  possess  a  faculty  for  retaining  the 
symbols  of  the  printed  page  without  effort  and 
without  subsequent  loss.  Many  such  cases, 
carefully  examined,  reveal,  however,  other  facul- 
ties than  mere  absorption,  if  one  may  so  express 
it.  Mr.  Kipling  has  pictured  the  training  of  his 
very  capable  hero,  Kim,  in  a  manner  to  prove 
that  accurate  observation  of  details  and  the 
retention  of  them  is  more  than  natural  ability. 
It  is  this  plus  exact  training. 

The  ability  to  remember  the  music  one  studies 
and  to  play  it  "without  the  notes"  is  susceptible 
to  training,  and  this  training  is  based  on  several 
lines  of  activity.  Applying  this  to  the  piano, 
there  are  to  be  reckoned  with  the  note  picture, 
the  mental  tone  impression,  the  grouping  of 
tones  into  chords,  the  melody,  and  the  Form  in 
which  the  composer's  meaning  is  expressed. 
With  these  the  average  student  (if  there  is  any 
such  student)  becomes  familiar  in  a  measure  by 
repeated  playing,  carried  on  to  the  extent  that 
the  hands  seem  to  be  gifted  with  the  power  to 

160 


THE  BASIS  OF  MUSIC  MEMORY  i6i 

reproduce  the  music  of  themselves.  Many  a 
student  is  famihar  with  this  condition,  and  many 
another,  alas!  with  the  other  condition  which 
arises  when,  playing  without  music  before  others, 
the  hands  suddenly  lose  their  cunning  and  the 
mind  is  powerless  to  suggest  or  assist.  What 
causes  this? 

In  a  word,  inexact  study. 

It  is  a  common  experience  to  hear  people 
quote  authors.  When  this  is  attempted,  with 
accuracy,  it  is  from  verse  rather  than  from 
prose  that  such  quotation  proceeds.  The  ex- 
planation is  simple.  Besides  the  beauty  of 
its  thought,  the  form  of  verse,  its  rhythm  and 
rhyme,  and  the  grouping  of  lines  into  stanzas 
are  a  help,  a  suggestion  that  center  the  mind 
upon  the  effort.  We  seldom  hear  people  quote 
prose  exactly;  and  for  the  reason  that  prose 
is  a  more  severe  test  upon  the  memory  for  ac- 
curacy because  its  form  offers  little  or  no  sug- 
gestion. 

Public  school  teachers  tell  us  that  children 
learn  to  read  music  with  greater  facility  than 
they  learn  to  master  the  symbols  of  the  mother 
tongue.  They  also  tell  us,  and  anyone  may 
make  the  observation  for  himself,  that  they 
memorize  readily  the  music  they  study.  This 
is  possible  because  music,  like  verse,  has  its 
rhythm,  its  rhyme,  and  its  repetition — and  be- 
cause, when  arranged  by  the  skillful  composer, 
11 


1 62  THE  EDUCATION  OF  THE  MUSIC  TEACHER 

these  are  so  set  off,  one  against  the  other,  that 
they  are  mutually  suggestive. 

It  is  surprising  to  the  student,  who  has  never 
given  thought  to  the  matter,  how  little  com- 
paratively need  be  memorized  of  a  composition 
to  make  one  master  of  the  whole.  But  even 
this  reduction  to  what  may  be  called  "new 
measures,"  or  "independent  measures,"  is  not 
an  ultimate  safety  device;  it  is  only  a  help  spring- 
ing from  a  remoter  reason  or  condition.  Be- 
fore we  can  safely  trust  to  the  suggestiveness 
of  music  to  impress  itself  on  the  mind  we  must 
carefully  study  the  structure  which  the  com- 
poser is  building;  that  is,  the  form  and  sequence 
in  which  the  composer  expresses  himself.  Tech- 
nically, this  is  known  as  the  study  of  Music 
Form;  in  practical  application,  it  is  the  pres- 
ence of  a  ground  plan  on  which  the  composi- 
tion is  erected;  and  it  is  the  mastery  of  this 
ground  plan  which  makes  playing  "without  the 
notes"  a  secure  and  insured  adventure. 

Let  us  apply  this  phase  of  our  subject  to  a 
specific  type: 

A  very  simple  type  is  selected  in  order  to 
make  it  clear  that  easy  teaching  material  is  no 
more  complex  of  structure  than  is  Little  Boy  Blue 
or  Old  King  Cole;  that  just  as  meter,  rhyme, 
rh3^hm  (the  "swing")  keep  these  old  favorites  in 
the  mind,  so  there  is  something  in  music  that  will 
aid  us  to  do  the  same  thing,  and  quite  as  easily. 


THE  BASIS  OF  MUSIC  MEMORY  163 

Children's  March. 

AUegro.    J  =  126. 


G.  Merkel,  Op.  30,  No.  i. 

(4) 


:|=J=^ 


(12) 


l64    THE  EDUCATION  OF  THE  MUSIC  TEACHER 


Children's  March.— Concluded. 

(20)  4        1 


The  total  number  of  printed  measures  is 
thirty-two.  But  measures  nine  to  sixteen  are 
a  literal  repeat  of  measures  one  to  eight.  This 
repeat  of  eight  measures  was  never  so  written 
out  by  the  composer;  he  wrote  it  out  once,  and 
indicated  its  repetition  in  the  usual  way,  by 
dots    :1|.     But  when  the  music  engraver  began 


THE  BASIS  OF  MUSIC  MEMORY 


165 


to  adjust  the  music  to  the  plate  on  which  he  was 
engraving  it,  he  found  it  too  short  to  fill  a  page; 
hence,  he  decided  to  present  measures  one  to 
eight  twice. 

So  far,  then,  as  the  actual  music  of  the 
composer  is  concerned,  we  have  only  to  con- 
sider : 

1.  Measures  one  to  eight. 

2.  Measures  seventeen  to  twenty-four. 

3.  Measures  twenty-five  to  thirty-two. 

The  first  eight  measures  naturally  divide  in 
two  phrases,  each  of  four  measures. 

The  second  four  measures  begin  the  same 
and  keep  the  rhythm,  but  pass  into  D  major  in 
measure  eight. 

As  measures  nine  to  sixteen  repeat  one  to 
eight,  and  are  merely  equivalent  to  the  repeat 
dots,  we  pass  them  and  consider  the  seven- 
teenth (printed)  measure.  Measures  seventeen, 
eighteen,  nineteen,  and  twenty  are  a  phrase 
concluding  in  E  minor: 


I 


(19) 


:|^ r 


(20) 


* 


eto. 


1 66    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

Measures  twenty-one,  twenty-two,  twenty-three, 
and  twenty-four  are  a  rhythmically  similar 
phrase  in  B  minor.     Thus: 


(24) 


^ 


m 


^ 


Measures  twenty-five,  twenty-six,  twenty- 
seven,  and  twenty-eight  are  identical  with 
measures  one,  two,  three,  and  four.  And, 
finally,  measures  twenty-nine  and  thirty  are 
identical  with  measures  five  and  six;  while 
measures  thirty-one  and  thirty-two  are  the  same 
cadence  measures,  but  now  in  G  major. 

The  total  plan,  then,  is: 


D  major 


Meas.  1-4         Meas.  5-8 


Meas.  17-20  E  minor         Meas.  21-24  B  minor 


Meas.  25-28       Meas.  29-32 
(Like  1-4)  to  end  in  G  major 


In    this   plan  the  eight  measures  marked  A 
(first  line)  and  the  eight  marked  A  (third  line) 


THE  BASIS  OF  MUSIC  MEMORY  167 

are  apparently  alike.  The  middle  line,  B, 
presents  matter  that  is  melodically,  and  in  key, 
unlike  that  of  A.  This  structure,  of  First  and 
Third  parts  alike  and  a  contrasting  middle 
part,  is  known  as  the  Ternary  (Tripartite)  or 
Three-part  form. 

This  is  one  of  the  commonest  types  of  Form 
balance.  It  consists  of  six  Phrases,  of  which 
Nos.  I,  2,  5,  and  6  are  always  identical  or  simi- 
lar, and  of  which  Nos.  3  and  4  are  in  contrast. 
Every  teaching  piece  worthy  of  the  teacher's 
repertoire  is  clearly  constructed,  in  one  Form 
or  another,  as  this  one  is,  and  is  invariably  as 
clear.  Practically  all  impediments  to  what  is 
commonly  called  "bad  memorizing"  (which  is 
not  memorizing  at  all)  are  removed  when  the 
pupil  is  accustomed  to  grasp: 

1.  The  Ground  Plan. 

2.  The  Balance  of  Periods.  (In  this  case  A  + 
B  +  A.) 

3.  The  Identity  of  Phrases.  (In  this  case  No. 
1  +  2  =  5  +  6.) 

4.  The  Cadences  concluding  each  Phrase. 
The   extent   to   which   the   Ternary   Form   is 

applied  may  be  seen  by  comparing  the  identity 
of  Parts  A  and  A  and  the  difference  between 
them  and  Part  B,  with  the  corresponding  por- 
tions of  the  Sonata  movement  given  in  Chapter 
XVIII. 


CHAPTER  XX 

TEACHING   MATERIAL 

There  has  recently  been  issued  an  edition, 
but  not  in  facsimile,  of  Johann  Sebastian  Bach's 
Noten  Biichlein  fiir  Anna  Magdalena  Bach  (1725).^ 
This  is  a  collection  of  pieces  that  Bach  wrote 
out  with  his  own  hand  for  his  second  wife,  a 
woman  apparently  of  great  musical  refinement. 
This  little  group  of  pieces  was  undoubtedly 
studied  in  love  and  intimacy.  They  were  copied 
by  Bach  for  the  reason  that  printed  music  was 
scarce  in  his  day,  and  no  less  so  was  the  money 
with  which  to  buy  it.  At  the  end  of  the  volume 
the  great  composer  added  the  rules  for  General 
Bass,  or,  as  we  should  say.  Thorough  Bass  or 
Harmony.  They  fill  scarcely  two  pages;  com- 
prising fifteen  brief  statements.  At  the  con- 
clusion the  author  remarks:  "Fully  to  grasp 
the  application  of  the  rules  comes  rather  from 
oral  instruction  {miindlichen  Unterricht)  than  from 
written  directions." 

This  evidence  of  the  composer's  desire  to  lay 
before  his  wife,  as  student,  material  for  the 
mastery  of  the  instrument,  to  an  extent,  and 
of  the  art  of  writing  for  it — and  all  in  brief  space 
— makes  one  wonder  what  he  would  have  thought 
^Published  by  George  D.  W.  Callwey,  Munich. 
168 


TEACHING  MATERIAL  169 

of  the  opportunity  students  have  in  these  days 
to  secure  books  and  music  in  well-nigh  endless 
variety,  and  at  little  cost.  It  seems  at  times 
that  the  very  simplicity  of  it  all  makes  us  care- 
less of  what  we  procure  and  of  how  we  use  it. 
It  brings  back  to  us  the  old  refrain:  "A  Httle 
ground  well  tilled." 

The  young  teacher  may  stand  in  astonish- 
ment before  the  vast  amount  of  really  valuable 
teaching  material.  The  unsolved  problem  of 
how  to  examine  so  much  music  sometimes 
leaves  the  teacher  with  a  poverty  of  selec- 
tions. But  the  matter  requires  only  a  little 
system  and  patient  investigation  to  be  robbed 
of  its  embarrassment  of  riches.  To  begin  with, 
the  best  music  dealers  take  infinite  pains  to 
catalogue  their  teaching  material  so  that  even 
a  novice  can  get  at  it  intelligently.  There  is 
always  someone  in  these  publishing  houses  who 
is  an  authority  on  the  catalogue,  and  who  not 
only  can,  but  is  always  glad  to,  assist  a  teacher 
in  finding  just  what  he  needs.  But  the  teacher 
must  ultimately  establish  his  own  list  of  material. 
This  can  be  done  only  by  making  the  most  of  all 
experience.  The  moment  a  piece  is  foimd  that 
is  musical  and  serviceable  for  any  definite  pur- 
pose, it  should  be  put  on  the  teacher's  personal 
list,  and  he  should  keep  a  copy  of  it.  He  may 
look  over  hundreds  of  pieces  before  he  finds  a 
half  dozen  that  are  thoroughly  practical  for  his 


170    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

particular  work.  But  dealers  are  willing  to  send 
any  quantity  of  music  on  examination  for  this 
very  purpose. 

If  the  teacher  works  with  pupils  of  all  grades, 
he  will  find  it  profitable  to  make  up  an  actual 
curriculum  of  pieces  and  studies  for  each  grade. 
Every  selection  should  be  a  definite  unit  to  him, 
useful  with  certain  pupils  for  a  certain  specific 
purpose.  This  requires  the  systematic  catalog- 
ing and  filing  of  music — a  simple  habit  that  sur- 
prisingly few  teachers  ever  contract.  Such  lists 
should  constantly  be  expanded,  weeded  out,  and 
refreshed  by  careful  examination  and  test  of  new 
pieces.  Hence,  they  will  never,  and  they  should 
never,  become  fixed. 

There  are  many  avenues  of  approach  even  to 
a  simple  piano  piece.  If  it  have  a  title,  it  should 
be  a  reasonable  one.  The  title  is  the  "program." 
No  one  ever  better  entitled  short  piano  pieces 
than  Robert  Schumann  did.  The  title  of  any 
one  of  his  Op.  15  or  Op.  68  offers  many  a  sug- 
gestion for  a  lesson.  When  the  title  is  thoroughly 
understood,  the  next  step  is  to  have  the  pupil  see 
the  structural  plan.  For  example,  Schumann's 
very  popular  Happy  Farmer  (Op.  68,  No.  10) 
is  constructed  of  ten  measures — in  this  order: 

A 4  m.  (repeated)  and  ending  in  C  major. 


B 2  m. 

C  (A) 4  m.  (like  1-4),  but  ending  in  F  major. 


TEACHING  MATERIAL  171 

The  moment  the  pupil  sees  that  these  three  lines 
accm-ately  picture  the  form  of  the  piece,  he  will 
never  have  trouble  memorizing  the  music,  be- 
cause that  process  \vill  be  based  on  the  sequence 
of  parts.  We  need  not  tell  him  about  "sequence 
of  parts"  for  he  would  not,  or  might  not,  under- 
stand it.  But  he  will  never  fail  to  grasp  the  pic- 
ture of  these  three  short  lines. 

These  prehminaries,  the  explanation  of  the 
title  and  the  form  outline,  at  once  place  the 
child  on  an  interested  basis  toward  what  is  to 
come;  namely,  the  music  itself.  If  he  finds  the 
music  attractive,  in  conjunction  with  what  he 
already  knows  about  other  compositions,  the 
teacher  may  feel  assured  that  he  has  added  a 
work  to  his  teaching  repertoire  that  has  stood 
the  preliminary^  test  successfully. 

Every  composition  added  to  the  teacher's 
list  should  possess  some  one  quality  (if  not  more 
than  one)  that  makes  it  serv'iceable.  It  should 
teach  something  worth  while.  Hence,  the  test 
of  Purpose  is  fundamental.  Even  with  children, 
every  sort  of  musical  taste  must  be  considered. 

The  demand  that  seems  natural  with  young 
people  for  tuneful  music  is  sane  and  healthy. 
Such  music  is  the  natural  heritage  of  the  child. 
This  desire  springs  from  the  same  cause  as  leads 
children  to  want  stories.  They  may  be  led 
gradually  into  what  the  earnest  teacher  may 
regard  as  "better  things."     Comparatively  few 


172    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

children  are  born  with  a  highly  developed  classic 
taste.  They  do,  now  and  then,  come  into  the 
world  with  the  gift  of  wonderful  insight,  but 
with  the  vast  majority  the  teacher's  pedagogy 
must  be  so  directed  as  to  lead  them  up. 

Teaching  material  plays  many  parts.  Some- 
times we  may  need  types  of  it  that  are  not,  as 
Charles  Lamb  says  of  Valentine  verses,  "over- 
abundant in  sense."  But  no  one  pupil  needs 
this  class  of  music  very  long.  The  common  ex- 
perience of  families  into  which  music  has  been 
introduced  through  a  mechanical  player  of  any 
kind,  is  that  popular  music  is  the  first  choice; 
this  is  soon  set  aside  for  better  selections,  and 
when  a  little  technic  of  listening  and  of  under- 
standing music  has  been  secured,  the  best  selec- 
tions are  demanded. 

Some  eminent  pedagogues  have  compiled  lists 
of  teaching  material  that  are  distinctly  service- 
able. They  offer  many  avenues  of  investigation 
to  the  teacher  that  he  might  not  himself  discover. 
Such  a  printed  list  is  really  a  miniature  music 
store.  But,  in  addition,  the  teacher  should  keep 
abreast  of  all  the  new  material  that  is  coming  out, 
and,  as  we  have  already  indicated,  make  up 
ultimately  a  teaching  book  of  his  own. 


CHAPTER  XXI 


METHOD   AND   SYSTEM 


The  word  "method"  has  long  been  used  in 
the  profession  of  music  teaching  in  a  Hmited 
sense.  It  generally  is  intended  to  specify  a 
particular  way  or  manner  of  instruction.  Thus, 
we  have  the  Leschetizky  method  as  applied  to 
the  piano,  the  Sevcik  method  as  applied  to  the 
violin,  and  similar  specializations  or  applications 
to  voice  and  the  organ.  Back  of  these  terms 
there  is  generally  something  that  indi\ndualizes 
the  process  of  instruction,  but  not  infrequently 
the  very  men  whose  names  are  thus  used,  and 
used  freely,  are  the  last  to  lay  any  claim  to  a 
"method."  A  truly  great  teacher  of  potent 
indi\4duality  so  impresses  himself  that  his  way 
of  doing  becomes  unique,  but  he  rarely,  if  ever, 
stops  deliberately  to  christen  his  work  with  his 
own  name.  His  disciples  do  that  for  him;  and, 
once  it  is  done,  it  permits  of  no  undoing. 

One  will  find  in  talking  with  a  significant 
teacher  that  his  interests  in  life  do  not  center  in 
anything  he  calls  his  method.  It  centers  in  his 
art.  Being  individual  and  rarely  gifted,  he  pur- 
sues his  art  in  an  uncommon  way;  but  it  is  for- 

173 


174    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

ever  true  that  the  one  particular  thing  that 
enlists  his  thought  and  devotion  is  not  the  means 
by  which  he  reaches  his  art.  It  is  always  the  art 
itself.  Being  a  genius,  he  has  worked  out  in  his 
way  a  plan  of  procedure,  by  the  application  of 
which  one  may  learn  to  perform  and  interpret 
music  with  the  least  physical  resistance.  The 
single  question  before  every  great  teacher  is  this: 
How  can  one  so  train  the  body  that  it  becomes, 
with  the  instrument,  a  perfect  mechanism? 
What  can  be  done  to  train  the  body — fingers, 
wrist,  arms,  shoulders,  lungs,  and  chest — so  that 
the  message  of  music  resident  in  mind  and  spirit 
may  be  expressed  (that  is,  "pressed  out")  with- 
out friction? 

No  great  teacher  ever  thinks  further  of  the 
physical  mechanism,  or  technic,  than  to  make  it 
perfect  in  its  purpose.  Then  it  is  forgotten  as 
a  technical  machine  to  do  service  as  a  means  of 
interpreting  the  thought  of  the  composer.  The 
young  teacher  should  be  very  clear  on  this  point. 
The  one  thing  to  aim  for  is  the  interpretation 
of  music.  Technical  training  is  a  means  to  that 
end  precisely  as  the  skill  of  color  mixing  and 
wielding  of  brushes  is  a  means  to  painting  a  pic- 
ture. Nor  must  the  young  teacher  underrate 
technic.  Without  it  interpretation  is  impos- 
sible; but,  on  the  other  hand,  the  most  brilliant 
technic  imaginable  is  useless  unless  it  be  the 
servant  of  an  intelUgence  that  is  capable  of  con- 


METHOD  AND  SYSTEM 


175 


ceiving  the   intimate   message   of   the   music   it 
performs. 

If  there  is  one  striking  fact  in  the  playing  of 
Paderewski  and  in  the  singing  of  Caruso,  it  is 
that  we  get  true  enjoyment  from  them  without 
any  thought  whatever  of  the  technical  proficiency 
that  produces  the  result  we  hear.  Mr.  Glad- 
stone had  a  technic  of  speech,  but  no  one  ever 
thought  of  it,  for  the  reason  that  the  chief  interest 
lay  in  what  he  said  with  it. 

Method,  then,  is  the  handmaid.  But  the 
princess  in  whose  service  she  is  enlisted  is  a  rarer 
being.  A  pupil  may  have  been  trained  to  a 
certain  point  and  may  have  remarkable  tech- 
nical facility.  The  very  first  thing  we  want  to 
know  about  it  is:  What  can  he  do  with  his 
technic?  What  does  it  permit  him  to  say?  If 
his  technic  is  a  natural,  logical  adaptation  of  his 
body  to  the  keyboard,  if  directly  and  without 
loss  of  motion  he  can  make  the  instrument  con- 
vey his  message,  and  if  his  message  be  true,  we 
may  with  pride  point  not  to  the  technic  but  to 
the  result  he  produces  with  it. 

Hence,  far  and  beyond  technical  mastery  is 
interpretative  ability.  The  one  distinct  purpose 
that  may  logically  lie  back  of  the  performance  of 
every  worthy  piece  of  music  is  the  expression  of 
its  meaning.  Had  it  not  some  message  to  con- 
vey it  had  never  been  written.  The  grasp  of 
that  message  is  the  province  of  consciousness  and 


176    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

intellect.  The  warmth  of  its  beauty  is  in  the 
responsive  heart.  Upon  these  technic  waits, 
as  a  servant,  to  do  a  bidding  it  is  of  itself  incap- 
able of  expressing. 

Like  Efi&ciency,  Method  and  System  are  great 
words;  but  they  are  apt  to  impose  unreaHties 
upon  us.  Rightly  employed  they  mean  precisely 
what  they  say  and  no  more.  Hence,  while  spe- 
cific ways  of  securing  the  desired  result  may  differ 
between  skilled  teachers,  they  all  aim  to  one 
end.  "What,"  asks  the  teacher,  "are  the  in- 
tellectual and  physical  developments  required 
by  this  pupil  that  he  may  become  an  efficient  ex- 
ponent of  music?''  (Not  of  "my  method,"  take 
note;  no  great  teacher  ever  thinks  of  that.) 
Then  he  proceeds  to  question,  investigate,  ob- 
serve, and  finally  he  discovers  exactly  what  line 
to  pursue. 

We  often  overestimate  the  Royal  Road  poten- 
tialities of  a  given  method,  forgetting  that  all 
educational  processes  are  in  fact  best  likened  to 
an  instrument  or  implement.  And  an  instrument 
can  never  do  work  unless  back  of  the  hand  that 
applies  it  there  is  an  inquiring,  observing,  skil- 
ful intelHgence  aware  of  the  work  to  be  done. 
The  teacher  may  have  been  trained  by  a  method, 
but  it  soon  becomes  evident  that  unless  it  be  so 
elastic  that  its  appHcation  is  manifold  it  is  an 
impediment  rather  than  a  help.  There  are  in 
every   art   and    science    fundamental   principles 


METHOD  AND  SYSTEM  177 

that   are   amenable   to   being   systematized,   but 
they  never  lend  themselves  to  being  stereotyped. 

The  teacher  may  adhere  to  method;  it  may  ab- 
sorb the  mind,  but  at  the  other  end  of  the  thought- 
line  stands  the  living  pupil,  an  organization  of 
conditions  that  has  no  duplicate.  Shall  we  pro- 
ceed with  him  to  discover  the  possible  "divine 
spark,"  or  shall  we  cast  him  into  the  machine 
to  be  run  through  its  mechanism  and  stamped 
"made  by "? 

It  is  worth  any  expenditure  of  time  and  money 
to  study  with  a  famed  "method"  teacher,  for 
thereby  the  eyes  are  opened,  and  the  ears  too. 
We  never  hear  him  refer  to  method  or  claim  it. 
What  he  is  desirous  of  passing  on  through  us,  as 
students,  is  Purpose;  how  Purpose,  in  art,  has 
to  do  with  Message,  Meaning,  Beauty,  and  how 
to  interpret  them.  When  we  discover  a  method 
with  this  as  its  end-point  we  may  safely  adopt  it. 
12 


CHAPTER  XXII 


THE   MUSIC   CLUB 


Music  clubs  in  the  United  States  have  become 
so  numerous  and  so  active  that  they  have  been 
united  to  form  a  Federation.  Aside  from  the 
clubs  thus  organized,  there  are  many,  unattached, 
that  exert  a  local  influence.  Having  discussed 
to  a  sUght  degree  the  possibilities  of  Community 
music,  through  one  and  another  means,  we  are 
led,  naturally,  to  inquire  what  specific  purpose 
the  music  club  may  serve  to  the  best  interests  of 
music  in  the  United  States. 

The  music  club  is,  potentially,  a  great  civic 
asset.  It  may  be  not  only  a  center  of  music 
activity,  but  the  actual  centralization  of  the 
music  of  a  community.  As  purveying  to  the 
entertainment  of  a  town,  or  locality,  it  may  readily 
work  through  such  channels  as  the  schools,  the 
church,  the  library,  and  the  private  teacher. 
The  club  that  exists  for  the  delectation  of  its  own 
members  exclusively  is  missing  its  civic  applica- 
tion. Such  an  organization  should  make,  pri- 
marily, for  the  best  musical  expression  the  com- 
munity affords.  Its  object  may  well  be  so  to  de- 
velop its  resources  that  its  activity  is  an  enrich- 
ment of  the  life  of  the  people. 

178 


THE  MUSIC  CLUB 


179 


A  certain  music  club  not  only  sustains  an  ad- 
mirable series  of  concerts  during  the  winter,  but 
reports  to  its  members  on  plays  and  other  enter- 
tainments, indicating  through  a  capable  com- 
mittee which  are  good  and  which  are  not.  An- 
other club  continues  its  work  into  the  summer, 
and  has  organized  a  series  of  pageants  in  which 
the  historical  development  of  the  town  is  shown. 
In  this,  all  the  town's  people  have  been  invited  to 
assist,  and,  a  result,  a  distinct  local  spirit  has 
been  created. 

Whether  a  music  club  may  become  the  general 
clearing-house  for  local  betterment  work  in  music 
depends  upon  conditions  and  upon  the  tact  of  its 
officers;  but  its  potentialities  in  this  particular 
are  numerous  and  of  far-reaching  consequences. 
A  club  that  proposes  to  reach  the  people,  in  its 
influence,  may  have  some  discouraging  expe- 
riences to  meet,  but  they  are  worth  while.  It 
has  already  been  pointed  out  in  these  pages 
that  the  musical  potentiaHty  of  even  small 
neighborhoods  is  often  considerable.  The  im- 
mediate question  is:  Can  it  be  organized  for  the 
benefit  of  all?  And  the  reply  is  the  same  as  we 
found  in  the  case  of  the  Town  Festival.  It  can 
be  done  once  there  is  discovered  the  person  (or 
persons)  who  is  capable  and  willing  to  undertake 
it.  An  instance  is  known  to  the  writer  of  a  whole 
neighborhood  finding  enjoyment  of  the  best  kind 
— and  at  regular  interv^als — from  a  sound-repro- 


l8o    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

ducing  machine  erected  on  the  dining-room  table 
in  the  home  of  a  family  that  is  instinctively  com- 
munistic in  its  service.  The  leaven  in  so  modest 
a  case  as  this  is  not  without  power  to  quicken  a 
neighborhood  into  music  responsiveness. 

Any  music  club,  then,  that  is  desirous  of  en- 
listing itself  in  Service  can  become  a  potent 
factor  in  American  life.  We  may  not  have 
much  American  music,  comparatively,  but  we 
have  a  distinct  American  hunger  for  music  to 
satisfy.  The  one  essential  necessity,  however, 
in  every  American  community  is  to  make  music. 
We  often  smile  at  the  old  singing  school  and 
parody  its  efforts,  but  it  played  its  part  to  our 
everlasting  benefit,  and  we  have  by  no  means 
exhausted  its  resources.  Perhaps  we  can  refine 
them  and  give  them  more  aesthetic  names,  but 
we  can  never  do  better  than  to  organize  our  people 
into  music-makers,  as  their  capacity  permits. 

The  little  village  of  Oberammergau,  in  Austria, 
would  be  unknown  to  the  world  at  large  if  its 
people  had  restricted  its  histrionic  activity  to 
writing  papers  on  the  art  of  the  stage  and  limit- 
ing its  membership.  The  Oberammergau  people 
do  things.  They  produce.  Everybody,  practi- 
cally, participates;  and  the  participation  is  based 
on  developed  capacity  in  the  individual.  The 
visitor  to  the  Passion  Play  observes  a  cheering 
absence  of  red-tape.  There  are  no  presidents, 
secretaries,   or  boards  of  directors  in  evidence. 


THE  MUSIC  CLUB  i8l 

The  people  of  the  village  turn  out  about  four 
A.  M. ;  prepare  to  entertain  three  or  four  thousand 
visitors,  cook  their  food,  make  their  beds,  and 
then,  exchanging  the  domestic  costume  for  that 
of  the  stage,  they  proceed  to  the  open-air  theater 
and  amaze  people  of  all  countries  by  the  fideUty 
of  their  art.  It  is  all  done  as  naturally  as  a  wood- 
carver  cuts  a  figure,  or  as  a  potter  turns  his 
wheel. 

Whether  the  music  clubs  will  ever  be  able  to 
stimulate  a  community  in  such  a  manner  is  yet 
to  be  seen,  but  the  question  is  worthy  of  con- 
sideration. As  we  have  already  instanced,  pa- 
geantry has  aroused  unusual  public  interest  and 
cooperation  wherever  it  has  been  attempted. 
Similar  results  have  followed  upon  the  artistic 
preparation  and  presentation  of  Folk-dances. 
Whenever  the  community  is  shown  that  it  can 
express  itself  beautifully  it  is  invariably  willing 
to  cooperate  in  the  proposition. 

Keeping  community  betterment,  in  the  intel- 
lectual sense,  before  us,  we  must  not  fail  to  note 
that  active  participation  always  makes  for  fuller 
expression.  Essays,  papers,  and  lectures,  all 
valuable  in  their  places,  only  too  often  make  for 
slumber.  Herein  is  the  vital  principle  in  the 
town  chorus.  Ever>^body  must  be  active.  The 
more  intense  life  of  the  community  never  comes 
from  one  entertainer  doing  all  the  work.  Ways 
and   means   must   be  devised  for  permitting  as 


l82    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

many  people  as  possible  to  find  some  opportunity 
for  individual  self-expression. 

It  is  true  not  only  of  individuals,  but  of  bodies 
of  people,  that  they  live  in  their  perceptions. 
Now  the  whole  purpose  of  active  educational 
effort  is  to  raise  the  plane  of  perception.  We  all 
need,  individually  and  collectively,  to  be  urged 
to  some  new  and  hitherto  untried  impulse  that 
results  in  the  abundance  of  life  we  seem  to  be- 
lieve in,  hesitatingly,  at  times.  This  more 
intense,  more  individually  pronounced  com- 
munity expression  in  music  and  its  allied  activi- 
ties is  preeminently  the  one  best  object  toward 
which  the  music  club  may  work.  The  com- 
munity at  large  hears  scarcely  the  echoes  of 
the  club-meeting  on  Russian  Songs.  Worthy 
as  such  a  subject  is,  in  its  place,  it  only  reaches 
the  people  to  be  welcomed  after  much  other 
work  has  been  done  in  their  behalf. 

There  is  still  another  phase  of  music  club  life 
that  we  have  not  touched  upon.  It  is  that 
which  centers  around  the  more  or  less  private 
gathering  that  takes  place  between  teacher, 
pupils,  and  intimate  friends.  Even  this  is  cap- 
able of  expansion  into  a  useful  public  or  semi- 
public  influence.  There  is  no  secret  way  and  no 
secret  purpose.  The  way  is  found  in  tact  and 
skill,  and  the  purpose  is  found  in  Service. 

The  private  teacher  may,  without  inviting 
unkind    critical    comment,   expand    his   activity 


THE  MUSIC  CLUB  183 

into  all  that  the  Romans  expressed  in  the  phrase 
pro  bono  publico.  To  this  end  it  is  to  his  benefit 
to  keep  informed  of  what  is  going  on  in  his  pro- 
fession. He  needs  to  know  not  only  music 
"news,"  but  the  full  educational  expression  as 
it  is  practised  by  the  leading  schools  and  educa- 
tors. He  should  familiarize  himself  wnth  the 
curriculum  of  every  good  school,  both  here  and 
abroad.  As  a  rule,  it  is  easy  to  procure  courses 
of  study,  and  even  the  details  of  all  phases  of  the 
curriculum. 

Again,  the  teacher  should  also  keep  thoroughly 
informed  about  community  work  in  music;  that 
is,  what  are  cities  and  towns  (and  particularly 
the  smaller  communities)  doing  with  music? 
He  should  acquaint  himself  to  what  extent  music 
is  practised  in  the  schools;  what  recognition  of 
its  literature  is  given  by  public  libraries;  what 
local  musical  organizations  are  successfully 
founded  and  carried  on. 

All  such  information  as  this,  and  much  more, 
is  readily  procurable,  and  is  essentially  valuable 
to  the  teacher  as  suggesting  ways  and  means  for 
securing,  in  his  own  community,  a  music  life 
that  will  adequately  express  the  latent  capac- 
ity of  the  people.  Whether  he  organizes  a 
Festival,  or  a  club,  or  limits  himself  to  the  range 
of  activity  within  his  own  class  of  pupils,  he  can, 
if  he  will,  reach  the  public  and  interest  it  to  its 
benefit. 


CHAPTER  XXIII 

run  MEASURE  OF  SUCCESS 

Every  one  of  the  thousands  of  people  who 
turn  to  music  as  a  profession  wants  to  succeed. 
They  all  may  be  said  to  be  investors  in  success. 
They  buy  stock,  so  to  speak,  in  the  firm  of  Great 
Expectations,  dream  rosy  dreams,  and  wait. 
Often  the  waiting  is  the  crudest  part  of  it,  for 
the  attendant  heartaches  are  never  recorded  in 
the  news  of  the  day. 

Is  this  expectation  of  success  in  music  a  vain 
and  foolish  thing? 

Decidedly  it  is  not.  It  is  the  one  logical  ex- 
pectation with  which  to  begin;  anything  else 
would  be  a  crime.  If,  then,  it  is  right  to  enter- 
tain the  success-idea  and,  despite  this,  countless 
numbers  fail,  where  are  we  to  look  for  a  justifica- 
tion of  the  thing  we  do?  Why  should  the  new- 
comer into  the  musical  profession  be  encouraged 
by  fair  words  and  assured  there  is  success  for  him 
or  her  as  there  was  for  Mr.  Paderewski  and  Mme. 
Sembrich,  not  in  degree,  maybe,  but  surely  in  kind? 

The  encouragement  should  be  given  for  this 
reason:  If  talent — which  is  indispensable — be 
supported  by  the  proper  care  and  attention, 
failure  is  impossible.     Now  to  succeed  with  a 

184 


THE  MEASURE  OF  SUCCESS  185 

talent  involves  a  study  of  the  talent  and  a  study 
of  success,  if  the  latter  word  is  to  include  all 
that  should  come  to  one  whose  activities  are 
well  rounded  and  carefully  thought  out. 

We  have  before  us,  then,  two  subjects  for  con- 
sideration: (i)  The  study  of  music.  (2)  The 
study  of  success.  Neither  is  the  accidental  con- 
sequence of  the  other.  Let  us  take  up  the  sub- 
ject of  success  first. 

We  may  puzzle  over  the  matter  as  much  as  we 
please,  but  once  we  focus  properly  upon  it  we 
see  that  no  man  who  has  ever  given  rules  for 
attaining  success  has  ever  been  incoherent. 
They  have  in  every  instance  been  so  simple 
that  they  have  attracted  no  attention.  Every 
man  who  has  expressed  himself  on  this  subject, 
from  Socrates  to  John  D.  Rockefeller,  has  couched 
his  dictum  on  success  in  terms  so  plain  that  even 
children  might  read.  And  children  may  read; 
but  adults  look  wise  and  announce  that  "he  is  a 
wise  old  man,  but  he  does  not  tell  the  whole 
story."  So  they  throw  the  true  and  simple 
gospel  of  success  aside  and  go  out  to  look  for  it 
in  a  complex  situation.  And  there  being  none, 
they  never  find  it. 

Well,  what  are  these  simple  rules  for  success? 
If  they  are  true,  why  do  we  at  the  same  time 
mistrust  them?  No  one  can  tell  why  they  are 
mistrusted,  unless  it  be  that  human  nature  mis- 
trusts simple  statements.     We  would  urge  upon 


1 86    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

every  seeker  of  success  who  prosecutes  his  search 
in  the  musical  profession  first  to  define  to  him- 
self exactly  what  kind  of  success  he  is  desirous 
of  attaining.  There  are  many  varieties.  Get 
this  fixed  first.  Do  not  be  hazy  about  it.  Think 
it  over  honestly  and  decide  as  well  as  you  can, 
and  decide  honestly.  This  done,  how  must  suc- 
cess be  founded? 

^==^The   consensus   of   opinion   for   two   thousand 
years  or  more  runs  about  like  this: 

1.  Do  not  dream  about  working,  for  dreams 
that  remain  dreams  never  entertain  anyone  but 
the  dreamer. 

2.  The  "artistic"  appearance  is  of  itself  no 
guarantee  of  true  and  reliable  musicianship. 

3.  Life  is  not  long  enough  to  learn  all  there 
is  to  know  about  music;  hence  "graduation"  is 
not  the  end  of  the  line,  but  the  first  station  at 
which  the  success-train  stops. 

4.  Music  is  not  an  exclusive  art.  Its  vitality 
makes  it  pulsate  through  the  whole  social  mass. 
The  more  we  draw  aside  the  skirts  to  avoid  the 
crowd,  the  less  vitally  shall  we  touch  the  abound- 
ing and  amazing  life  of  our  times. 

5.  We  must  work  for  service  as  well  as  for 
profit — and  of  the  two,  service  is  the  greater. 
Just  so  far  as  we  can  make  music  the  magic  key 
that  unlocks  the  heart  of  the  world  about  us,  to 
that  extent  do  we  render  our  talent  unto  others. 

6.  We  must  never  picture  the  music  life  as  a 


THE  MEASURE  OF  SUCCESS  187 

hope  that  begins  big  and  suddenly  comes  to  an 
end  like  a  diminuendo  mark.  All  life  is  a  cres- 
cendo sign.  It  begins  at  a  point  and  becomes, 
as  the  great  Teacher  has  assured  us,  more  and 
more  abundant.  Of  all  success-signs  to  be  worn 
over  the  heart,  this  is  the  greatest  of  all. 

The  reason  why  success-books  rarely  put  us 
on  the^right  road  is  because  no  two  roads  are 
the  same^Tn  any  characteristic.  We  must  deter- 
mine the  direction  and  the  end  point.  We  must 
decide  whether  we  are  to  be  an  exponent  worthy 
of  a  beautiful  art,  or  merely  a  merchant  in  its 
wares  who  counts  profits  every  evening.  But  in 
any  case  we  must  begin  with — and  continue  with 
— these  things: 

Faith  in  ourselves. 

Faith  in  hard  work. 

Faith  in  the  world  about  us. 

Then,  and  thus  fortified,  we  shall  be  able  to 
find  in  the  annals  of  music  itself  all  the  gospel  of 
success  that  we  crave.  We  need  turn  neither  to 
Athenian  philosophers  nor  to  the  great  oil  mag- 
nates. The  art  of  music  itself  will  inspire  us  if 
we  will  run,  not  too  fast,  and  read  as  we  go.  You 
will  note  in  all  the  instances  that  follow  that 
there  are  these  evidences: 

(i)  Talent,  (2)  Industry,  (3)  Success.  Add 
the  first  to  the  second  and  we  shall  always  get 
the  third;  but  we  cannot  combine  them  in  any 
other  way. 


l88    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

The  Russian  composer,  C^sar  Cui,  once 
showed  me  his  musical  library.  It  was  the 
equivalent  of  the  five-foot  shelf  of  the  best  books. 
But  there  was  more  than  five  feet  of  it.  All  the 
works  of  the  great  masters  were  there,  and  they 
had  been  pored  over  and  thought  over  and 
studied  until  they  had  yielded  their  essence.  In 
another  case  were  Cesar  Cui's  original  works, 
the  compositions  of  many  years,  uniformly  bound 
and  certainly  impressive  in  their  number. 

"One  would  think  that  even  the  mechanical 
work  of  writing  these  out  would  have  occupied 
you  continuously." 

"Oh,  no,"  he  said,  "I  am  not  by  profession  a 
musician.  I  give  my  time  principally  to  my  work 
in  the  Military  Academy.  This  is  merely  the 
fruit  of  my  leisure." 

There  are  two  principal  words  in  this  story, 
"work"  and  "leisure." 

The  late  S.  Coleridge  Taylor,  son  of  a  Liberian 
negro,  though  he  lived  but  a  comparatively  brief 
life,  won  a  reputation  the  world  over  for  his 
work.  I  sat  with  him  one  day  at  his  desk  filled 
with  work  upon  which  he  was  then  engaged.  He 
pointed  to  it  and  said:  "If  I  could  only  leave 
it  all  for  a  while  and  be  a  student  again.  There 
are  so  many  things  in  music  that  I  want  to  study 
in  order  that  I  may  do  better  work  and  express 
myself  better."  It  had  been  his  life-long  desire 
to  study  with  Dvorak,  but  the  work  involved  in 


THE  MEASURE  OF  SUCCESS  189 

the  very  success  his  talent  had  brought  him  had 
all  along  prevented  the  fulfillment  of  this  w-ish. 
Perhaps  you  can  imagine  him,  one  of  the  most 
incessantly  busy  musicians  in  London,  traveling 
to  distant  points  frequently,  and  always  engaged 
when  at  home  as  busily  as  a  banker  in  the  city, 
yet  carr>dng  within  himself  all  the  while  that 
clearly  objectified  ambition  to  drop  it  all  for  a 
season  and  get  away  to  learn  more.  And  yet, 
had  he  been  content  with  the  applause  of  a  world- 
wide reputation,  his  favorite  piece  of  furniture 
might  have  been  an  easy  chair  instead  of  a 
desk. 

And  Dvorak  himself  was  no  mere  gazer  in  the 
mirror  of  his  own  greatness.  He  showed  me  in  his 
study  in  Prague,  his  "work  in  hand,"  work,  which, 
by  the  way,  he  was  not  destined  to  complete. 
There  were  the  beginnings  of  two  or  three  operas 
on  his  piano  to  which  he  was  just  then  giving 
his  exclusive  attention.  He  had  determined,  he 
said,  to  write  no  more  small  works,  but  to  concen- 
trate himself  upon  large  forms.  But  not  only 
had  he  laid  out  for  himself  an  extensive  amount 
of  original  work  for  his  last  years,  but  he  gave  the 
closest  study  to  all  new  works  of  the  day.  Char- 
pentier's  Louise  and  two  or  three  scores  of  Richard 
Strauss  were  on  the  piano,  about  which  he 
talked,  playing  passages  from  memory,  express- 
ing critical  or  appreciative  comment  that  showed 
his  wide  and  intimate  knowledge  of  what  others 


190    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

were  doing  in  music.  His  music  room  was  no 
artist's  boudoir;  it  was  a  workshop,  a  business 
man's  place  of  affairs  like  a  counting-room. 
Things  were  happening  there,  not  to  an  untried 
novice,  but  to  a  man  who  had  by  Talent  and 
Industry  brought  himself  to  the  attention  of  all 
the  world. 

There  are  countless  young  men  and  women 
who  feel  and  exhibit  more  greatness  on  the  occa- 
sion of  their  first  pubHc  appearance  than  Beet- 
hoven ever  felt  from  1770  to  1827.  All  these 
men,  and  all  others  of  their  kind,  judge  their 
work  as  a  contribution  to  the  world's  advance- 
ment. The  young  men  and  women  who  carry 
their  little  bouquets  off  the  stage  amid  the 
applause  of  family  and  friends  judge  their 
work  in  relation  to  themselves.  The  difference 
lies  between  doing  for  Service  and  doing  for 
Self -appreciation . 

Readers  of  music  biography  may  go  as  far 
back  as  they  please,  and  still  they  find  that 
Success  has  always  been  the  summation  of 
Talent  and  Industry.  Handel  discovered  prac- 
tising on  a  harpsichord  smuggled  into  the  garret 
is  thought  to  be  a  perfectly  lovely  picture  of  a 
little  boy.  Well,  it  is;  but  it  is  also  the  picture  of 
a  determination  that  made  it  possible  for  him 
to  write  the  Messiah  in  a  few  days.  This  is  a 
point  that  should  not  be  missed,  for  while  the 
little    boy    Handel    passed    into    manhood,    the 


THE  MEASURE  OF  SUCCESS  191 

quality  of  determination  remained  to  the  end  in 
all  its  fruitful  enthusiasm. 

Sebastian  Bach  copying  music  in  the  moon- 
light has  touched  the  sentimentalists  very  deeply 
indeed.  But  it  was  by  copying  other  people's 
music  that  Sebastian  Bach  secured  his  educa- 
tion. 

As  a  little  boy  he  sang  in  the  streets  of  Eisenach, 
asking  alms  for  the  school.  Both  occupations 
were  evidences  that  he  could  do  things  when  the 
necessity  arose.  And  this  is  no  small  factor  in 
the  success  quest. 

And  so  one  might  go  on  discovering  in  the 
stories  of  distinguished  men  the  three  simple 
factors  which  stand  out  so  clearly  in  all  cases. 
Always  there  are  Talent  and  Industry,  and  al- 
ways Success  sums  them  up.  And  always  there 
is  Service.  No  one  contributes  more  freely  to 
the  world  at  large  than  the  man  of  success.  There 
is  something  in  the  very  open-handedness  of  giv- 
ing freely  that  proves  to  us  how  much  better  it 
is  to  give  than  to  receive;  a  statement  which  has 
high  authority,  and  yet  which  puzzles  the  timid 
and  the  cautious  as  much  now  as  it  ever  did. 

But  it  may  be  said,  the  great  are  a  law  unto 
themselves.  How  about  me?  I  Uve  in  a  small 
town  of  about  five  thousand  people  and  the 
troubles  of  Sebastian  Bach  were  no  worse  than 
mine. 

Well,  be  thankful  for  that.     The  fact  is,  you 


192    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

will  not  be  a  second  Bach,  for  the  simple  reason 
that  the  Creator  makes  no  use  of  repeat  workers, 
your  task  is  to  be  yourself.  For  that  purpose 
you  came  into  the  world.  You  are  not  to  copy 
another's  degree  of  success,  but  you  may  copy 
and  adopt  his  method.  So  there  are  before  you 
as  there  are  before  the  greater  ones  of  the  earth 
precisely  the  same  factors.  You  have  a  certain 
Talent  and  a  certain  capacity  for  industry. 
Add  these  and  the  sum  is  your  measure.  But 
neither  of  the  first  two  factors  is  fixed.  Increase 
them  all  you  will.  Do  not  think  to  retire  at 
forty  with  a  poultry-farm  and  a  small  income. 
Come  into  the  music  world  for  servdce  and  with  a 
capacity  for  labor.  Always  remember  that  the 
sum  of  a  column  of  figures  is  present  whether  it 
be  actually  written  at  the  foot  or  not.  So  the 
degree  of  success  is  always  present,  and  in  true 
summation  of  all  the /factors  you  bring  into  the 
column.  Do  not  dream  about  this.  The  world 
denies  you  nothing  you  can  get  by  labor.  But  it 
pays  small  wages  for  appearances  and  pretense. 
The  banker  of  the  world  says  to  your  youth  of 
the  far-away,  dreamy  look  and  long  hair:  "Sorry, 
but  that  is  play-money  and  it  is  not  current 
here." 

Many  pessimists  call  this  a  world  of  struggle 
for  existence.  Let  us  not  believe  it.  It  is  an 
opulent  world,  willing  to  meet  us  more  than  half- 
way if  we  will  only  smile,  labor,  and  do  service. 


CHAPTER  XXIV 


RECAPITULATION 


It  will  be  found  by  all  who  observe  and  inquire 
about  the  methods  of  various  teachers  and  pupils 
that  in  those  cases  where  there  is  mutual  labor 
to  a  definite  end,  there  always  eventuates  not  only 
a  good  result  in  general,  but,  as  well,  a  pronounced 
enthusiasm  for  the  work  itself.  Another  element 
that  will  be  obser\^ed  is  this:  In  cases  where 
people  work  week  after  week,  tending  nowhere 
in  particular,  following  the  subject  more  from 
the  reason  that  something  compels  it  than  be- 
cause of  a  distinct  love  for  it,  apathy,  discon- 
tent, and  unsatisfactory  results  will  generally  be 
found.  This  latter  case  may  be  generated  by 
the  pupil  alone  or  it  may  be,  in  part,  stimulated 
by  the  teacher,  whose  fault  may  be  that  of  being 
unenthusiastic,  of  not  encouraging  ideals  and 
cultivating  ambition. 

In  respect  of  the  teacher,  it  may  be  said  that 
his  business  is  music  pure  and  simple,  and  that 
to  deal  in  ideals  and  ambitions  is  quite  apart  from 
his  province.  This  may  be,  in  a  sense,  true.  It 
is  the  purpose  of  this  chapter  to  discover  in  just 
how  far  a  teacher  can  afford  to  let  this  be  true. 

13  193 


194    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

The  testimony  is  given  by  all  successful  men 
of  business  and  of  learning  that,  quite  apart  from 
the  talent  they  possessed  in  the  beginning,  the 
development  of  power  was  possible  only  through 
a  willingness  to  labor  for  years,  generally  beyond 
the  pay  they  received;  to  take  infinite  pains 
with  the  work  itself;  and  to  be  unmindful  of  the 
number  of  hours  spent  on  the  task.  No  eight- 
hour  worker  has  ever  won  a  name  for  himself  by 
his  labor.  On  the  other  hand,  the  willingness 
to  persist  until  the  desired  result  comes  forth  is 
really  the  first  character-test  that  a  talent-worker 
experiences.  A  man,  successful  far  beyond  the 
run  of  business  men,  said,  in  advising  a  young 
man  who  was  about  to  enter  business  for  himself: 
"A  failure  is  comparatively  rare  where  an  honest 
man  labors  persistently  and  with  sincerity  at  what 
he  wants."  Note  the  great  words  of  his  sentence : 
"Honest — persistently — sincerity — wants. ' ' 

Let  us  keep  these  words,  which  really  ex- 
press a  business  law,  in  mind;  and  let  us  see,  in 
conclusion,  what  conditions  may  be  said  naturally 
to  enter  the  business  of  teaching,  and,  further,  let 
us  inquire  which  of  the  conditions  found  will 
insure  the  largest  amount  of  success. 

The  most  favorable  circumstances  for  success 
would  seem  to  come  forth  from  that  union  of  con- 
ditions which  is  represented  by  a  highly  skillful 
teacher  who  works  enthusiastically  to  a  definite 
point  with  a  talented  pupil  who  pursues  a  lofty 


RECAPITULATION  195 

ambition  with  equal  enthusiasm.  Such  a  Uto- 
pian state  is  not  possible  in  every  music  lesson. 
That,  undoubtedly,  is  the  first  deduction.  But 
a  second  thought  will  at  once  permit  of  another 
deduction,  namely,  if  this  condition  is  not  fully 
possible,  it  is  yet  an  admirable  ideal  toward  which 
to  work.  The  condition  here  assumed  may  not 
only  serve  as  an  ideal,  but  may  immediately  sug- 
gest that  we  seek  in  it  for  these  elements  which 
should  enter  more  modest  cases. 

To  repeat  the  attributes  of  the  teacher.  They 
are: 

I.  A  high  degree  of  skill. 
II.  Enthusiasm. 

III.  The  faculty  of  working  to  a  definite  end. 
And  on  the  part  of  the  pupil : 
I.  Talent. 
II.  A  lofty  ambition. 

III.  Enthusiasm. 

When  we  examine  these  conditions  we  find  that 
they  must  be  based  for  successful  issue  upon  the 
cultivation  of  that  power  fundamental  to  all 
others — judgment.  Its  office,  both  with  the 
teacher  and  with  the  pupil,  is  so  apparent  that 
no  detail  of  it  is  needed. 

Now  let  us  examine  them  and  see  what  there 
is  in  the  teacher's  attainments  that  all  of  us  may 
aspire  to  in  the  hope  of  adding  something  unto 
ourselves.     We  will  consider  each  point  in  turn. 

I.  On  what  is  a  teacher's  degree  of  skill  de- 


196    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

pendent?  On  two  things:  (i)  Natural  ability, 
and  (2)  the  development  it  has  received.  There 
being  much  truth  in  the  statement  that  genius 
is  the  art  of  taking  pains,  it  must  follow  that 
a  teacher's  place  and  a  teacher's  success  are 
largely  dependent  upon  the  amount  of  self- 
discipline  he  has  demanded  of  himself;  and  what 
he  will  accomplish  with  others  is  intimately 
related  to  what  he  has  been  able  to  accomplish 
with  himself.  In  other  words,  the  first  victory 
of  teacher  over  pupil  is  won  when  the  teacher 
gets  command  of  himself.  Hence,  the  first 
quality  in  his  attainment  is  power  over  self. 

II.  Out  of  this  training  it  will  result,  if  the 
training  be  kept  up  long  enough,  that  one  v/ill 
begin  to  love  work  because  it  is  doing  so  much 
for  one  individually.  When  by  doing  we  find 
that  we  are  gaining  power  over  the  self,  we  are 
led  to  love  the  labor  for  its  own  sake.  This  is 
the  first  intimation  of  the  truth,  that  it  is  not 
enough  to  love  art  for  the  passing  gratification 
that  comes  from  it.  That  is  akin  to  the  wine- 
merchant  passing  his  day  in  wine  tasting.  Why 
is  art  loved  by  artists?  Because  it  reveals  them 
to  themselves;  and  one  who  is  brave  will  not  be 
afraid  of  what  he  sees.  Now,  when  it  is  plain 
that  labor  is  adding  unto  the  laborer,  there  comes 
from  it  a  pure  love  and  a  strong  enthusiasm. 
But  let  it  be  noted  that  the  love  is  not  sickly 
and  the  enthusiasm  is  not  noisy.     Hence,   it  is 


RECAPITULATION  197 

plain  that  enthusiasm,  hke  skill,  comes  as  a 
result  of  putting  interest  in  one's  work. 

III.  The  faculty  of  working  to  a  definite  end 
need  scarcely  be  dwelt  upon  now,  for  it  must  be 
evident  that  when  one  has  labored  uncom- 
plainingly for  the  acquirement  of  skill,  enthu- 
siasm comes  largely  because  good  results  are 
seen  to  grow  out  of  centralized  labor.  This 
centralization  of  effort  in  the  teacher's  life,  ac- 
quired as  he  practically  works  out  his  own  case, 
is  that  which  later  on  in  the  developed  career 
he  employs  as  "a  definite  aim"  in  teaching 
others. 

The  essential  powers,  then,  of  a  teacher  evolve 
during  the  development  of  his  talent.  In  other 
words,  the  development  of  all  the  necessary 
factors  has  come  because  he  has  been  from  the 
first  faithful  unto  that  which  was  bestowed 
upon  him  in  the  mystery  of  life.  It  would  seem 
logical  now  to  take  up  the  points  of  favor  placed 
against  the  pupil  in  our  original  supposition, 
and  to  discuss  them  both  indi\ddually  and  as  to 
their  interrelation,  as  in  the  case  of  the  teacher. 
But  we  must  not  overlook  this:  that  while  we 
have  been  following  the  teacher  in  his  self- 
development  we  have,  in  reality,  been  following  the 
pupil;  that  is,  the  teacher  displays  powers  which 
are  ripened  in  the  years  of  professional  life;  but 
they  are  powers  which  were  first  developed  in 
student  years.     We  have  already  mentioned  the 


198    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

quality  which  is  most  potent  in  this  ripening 
process — j  udgmen  t . 

It  is  trite  to  say  that  the  largest  amount  of 
work  is  habitually  accomplished  by  those  who 
follow  ejHicient  methods  discriminatingly.  And 
what  that  discrimination  accomplishes  is  this: 
It  reduces  friction;  there  is  little  waste  effort; 
talent  finds  its  best  play  along  lines  most  properly 
suited  for  it,  and  even  a  little  talent,  like  a  small 
investment,  is  put  out  to  the  best  advantage, 
assuring  one  of  a  return  proportionate  to  the 
capital.  Now,  in  the  investment  of  personal 
power,  it  is  rarely  the  case  that  an  unusual 
return  is  enjoyed  by  the  investor. 

But,  further  than  this,  judgment  steps  in  as  the 
seeker  after  truth,  and  the  whole  truth  at  that. 
It  is  soon  recognized  by  one  who  is  studying  the 
art  of  teaching  that,  as  applied  to  music,  one 
must  not  fail  to  observe,  as  we  have  pointed 
out,  that  two  distinct  arts  are  present:  the  art  of 
teaching  and  the  art  of  music.  And  each  must 
be  studied  after  its  own  peculiar  nature.  Besides 
this,  it  will  be  seen  that  as  the  diversified  rami- 
fications of  the  sociological  order  create  condi- 
tions which  govern  business  in  general,  so  in 
large  measure  they  have  their  influence  in  the 
business  activity  of  the  musician.  The  strength 
of  their  unity  in  business  life  must  be  respected 
in  any  special  application.  And  it  will  be  found 
that  music  and  its  activities  are  quite  the  same 


RECAPITULATION  199 

in  their  interrelations  as  are  life  and  its  activities 
— one  is  the  other  in  miniature.  All  the  depend- 
ent conditions  of  life  are  likewise  dependent  con- 
ditions in  music.  Hence,  such  an  apparently 
unaesthetic  yet  necessary  fact  as  the  following  is 
for  the  serious  consideration  of  the  music  teacher, 
to  give  a  good  article  in  fair  exchange,  heeding 
its  usefulness  and  practicability,  improving  the 
stock  in  trade  as  it  is  demanded  by  the  legitimate 
development  of  the  profession,  never  falling  into 
that  state  of  apathy  which  regards  anything  as 
good  enough  to  give  for  money.  In  short,  when 
one  regards  all  the  conditions  fairly,  it  will  be 
admitted  it  is  highly  necessary  to  conduct  the 
teaching  of  music  on  the  common  business  law 
that  a  superior  article  creates  a  demand;  that 
under  no  circumstances  can  one  expect  long  to 
survive  in  the  general  competition  who  does  not 
keep  wide  awake,  have  a  superior  quality  of 
goods  for  exchange,  and  who  is  willing  to  expect 
more  business  only  in  proportion  to  the  actual 
success  of  business  done. 

This  final  statement  leads  to  the  consideration 
of  a  very  natural  and  a  very  common  question. 
When  it  is  remembered  that  a  lighted  candle  is 
not  supposed  to  be  placed  under  a  bushel,  we 
may  ask  how  much  right  the  owner  of  the  candle 
has  to  thrust  it  into  the  face  of  every  one  who 
comes  near.  The  business  man,  having  some- 
thing with  which  to  supply  a  demand,  seeks  to 


200    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

stimulate  the  demand,  first  being  sure,  if  he  is 
wise,  that  the  demand  itself  is  a  proper  one. 
Now,  in  music  teaching,  there  can  be  but  a 
single  way  of  calling  attention  to  one's  work; 
that  is,  as  already  pointed  out,  of  showing  highly 
superior  results;  of  showing  that  the  results  are 
secured  in  the  proper  way,  with  no  pretense  to 
accomplish  the  impossible — a  year's  work  in  a 
month  and  the  like — and,  above  all,  of  showing 
that  it  is  as  one  will  sacrifice  that  one  will  gain. 
Whoever  seeks  to  cover  up  this  fundamental  fact 
of  all  instruction  is  evading  the  common  law. 

Again,  to  refer  to  the  elements  of  power  set 
against  the  teacher,  it  should  be  clear  that,  for 
good  results,  skill  (knowledge),  enthusiasm  (force), 
and  an  objective  point  (force  directed)  are  not 
merely  necessary,  but  fundamentally  necessary. 
Thus,  when  the  teacher  sets  out  with  a  new 
pupil  the  first  step  will  be  taken,  Socratic-wise,  to 
discover  everything  about  the  pupil's  motive  for 
study,  endeavoring  to  supply  a  motive  if  there  be 
not  one ;  keeping  the  ambition  constantly  present, 
connecting  it  to  an  ideal,  and  gradually,  im- 
perceptibly perhaps,  raising  that  ideal  so  that 
the  pupil's  path  shall  always  lead  upward.  When 
this  is  done  with  skill,  the  pupil  will  develop  just 
the  three  qualities  placed  against  him  in  the 
beginning,  namely:    (i)  Talent  (personal  force); 

(2)  a  lofty  ambition   (personal  force   directed); 

(3)  enthusiasm  (the  quality  of  personal  force). 


RECAPITULATION  201 

We  are  now  in  a  position  to  draw  this  positive 
conclusion : 

The  teacher  who  will  take  trouble,  who  is 
enthusiastic,  who  continually  increases  his  skill, 
evolves  ideals,  pursues  a  definite  direction,  can 
reach  an  objective  point;  in  other  words,  he  is 
capable  in  the  three  essential  elements  of  his 
profession. 


CHAPTER  XXV 


EXAMINATIONS   IN   MUSIC 


Whether  the  teacher  shall  introduce  into  his 
own  system  of  instruction  regular  and  specific 
forms  of  examination  tests  is  to  be  decided  only 
by  individual  conditions.  The  purpose  of  this 
chapter  is  neither  to  recommend  nor  suggest 
such  a  procedure.  But  the  purpose  is  to  draw 
the  teacher's  attention  to  what  certain  institu- 
tions and  examining  bodies  are  doing  (and  have 
been  doing)  in  establishing  standards. 

There  follow  examination  tests  that  have  been 
set  in  various  musical  subjects.  If  the  teacher 
will  read  these,  it  will  become  clear  to  him  to  what 
extent  scholarship  is  required  in  certain  subjects 
and  grades.  If  he  will  recall  the  suggestion  made 
in  an  earlier  chapter  of  this  book  relative  to  the 
necessity  for  the  individual  teacher  establishing 
his  own  standard  and  maintaining  it,  he  will 
realize  the  practical  applicability  of  the  following 
papers : 

Elementary   Harmony 

The  Incorporated  Society  of  Musicians  (Eng- 
land). 

I.  Give  the  roots  of  the  following  chords,  and 


EXAMINATIONS  IN  MUSIC 


203 


say  in  each  case  whether  the  inversion  is  that  of 
a  major  or  a  minor  triad.     Figure  the  bass: 


i 


2b: 


fir 


#c 


IfF 


r 


ua 


d 


i 


M. 


>=-»- 


^ 


Roots. 


i 


2.  Write  the  last  inversion  of  the  chord  of  the 
minor  seventh  on  the  dominant  in  the  keys  of 
B  minor,  Ctr  minor,  Ab  major,  and  Eb  major. 
Give  its  resolution  in  each  case.  Do  not  write 
the  signatures,  but  figure  the  bass. 

3.  Add  parts  for  treble,  alto,  and  tenor  above 
the  following  bass : 

-+-J 1^ U- 


I 


^55^^ 


^3 


i=^ 


5C^ 


^  6 
4  5 
3 


6  6   5    6 

Mi 


6  6 
4 


4.  Add  parts  for  alto,  tenor,  and  bass  below  the 
following  melody: 


$ 


ft^ 


t:^r^ 


ife^ 


4^^=^ 


m 


204    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

5.  The  Candidate  may  write  the  Optional 
Counterpoint  given  below  instead  of  the  follow- 
ing Question. 


i 


m- 


r^fF^ 


g=*: 


(a)  Write  the  above  melody  in  the  key  of 
F  major  and  in  the  alto  stave.  Add  one  part 
in  quavers  below  the  same.  Score  of  two 
parts. 

(b)  Write  the  above  melody  in  the  key  of  A 
major  and  in  the  tenor  stave.  Add  one  part  in 
semiquavers  above  the  same.  Score  of  two 
parts. 

Optional  Counterpoint — which  may  be 
written  instead  of  Question  5. 


« 


i 


•gr 


U 


5 


s: 


2Z 


(a)  The  above  subject  to  be  transposed  into 
the  key  of  D  minor  and  written  in  the  tenor 
stave.  Add  counterpoint  for  treble  in  the  fourth 
species.     Score  of  two  parts. 

(b)  The  above  subject  to  be  transposed  into 
the  key  of  C  minor  and  written  in  the  alto  stave. 
Add  counterpoint  for  bass  in  the  third  species. 
Score  of  two  parts. 


EXAMINATIONS  IN  MUSIC  20$ 

Music   History 

Set  by  the  Regents  of  the  New  York  State 
Education  Department. 

Note. — Acoustics  is  included  as  a  part  of  this 
paper. 

Write  at  top  of  first  page  of  answer  paper  (a) 
name  of  school  where  you  have  studied,  (b) 
number  of  weeks  and  periods  a  week  in  history  of 
music  and  acoustics. 

The  minimum  time  requirement  is  four  periods 
a  week  for  a  school  year. 

Answer  ten  questions,  incltiding  eight  from 
Group  I  and  two  front  Group  II. 

GROUP   I 
Answer  Eight  Questions  From  This  Group 

1.  Write  briefly  on  the  contrapuntal,  classic, 
and  romantic  schools  of  music,  stating  the  char- 
acteristics of  each  and  naming  its  most  dis- 
tinguished representatives. 

2.  Write  briefly  on  the  music  of  Richard 
Strauss  and  Claude  Debussy.  State  what,  in 
your  opinion,  individualizes  the  work  of  each. 
Name  at  least  three  of  the  representative  com- 
positions of  each. 

3.  Answer  both  a  and  b: 

(a)  Name  four  European  composers  specially 
esteemed  for  their  songs,  state  where  and  when 


2o6    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

each  one  lived,  and  name  two  well-known  songs  of 
each. 

(b)  Name  three  eminent  American  song  com- 
posers and  mention  two  songs  of  each. 

4.  Name  at  least  two  distinguished  musical 
contemporaries  of  (a)  Louis  XIV,  (b)  Napoleon, 
(c)  Queen  Victoria. 

5.  Describe  briefly  the  classical  symphony. 
Name  six  symphonic  writers.  Give  a  list  of 
symphonies  that  you  have  heard  or  studied. 

6.  Answer  a,  b,  c,  and  d: 

(a)  When  was  the  pianoforte  invented?  What 
did  it  supersede? 

(b)  When  did  Clemen ti  live?  What  influence 
had  he  and  his  followers  on  the  growth  of  piano 
composition  and  technic? 

(c)  Name  some  of  the  piano  compositions  of 
Chopin,  Beethoven,  Schumann,  and  Liszt.  Write 
briefly  of  the  style  of  each. 

(d)  Name  six  famous  pianists  now  living. 

7.  Give  the  prevailing  characteristics  of  music 
in  the  period  between  (a)  1 400-1 600,  (b)  1600- 
1700,  (c)   1 700-1 800,  (d)   1 800-1 900. 

8.  Distinguish  between  the  forms  in  each  of 
the  following  groups:  (a)  Cantata  and  oratorio; 
(b)  grand  opera,  romantic  opera,  and  opera 
comique;  (c)  symphony  and  symphonic  poem. 
Name  one  composition  of  each  class,  with  its 
composer. 

9.  Write  briefly  on  the  general  characteristics 


EXAMINATIONS  IN  MUSIC  207 

of  (a)  classical  music,  (b)  romantic  music,  (c) 
program  music.  Name  three  representative  com- 
posers of  each  style,  with  one  work  of  each. 

GROUP   II 

Acoustics 

Answer  Two  Questions  From  This  Group 

10.  Define  (a)  segments,  (b)  wave  points. 
Illustrate  with  a  diagram. 

11.  What  is  (a)  the  pure  scale?  (b)  the  tem- 
pered scale?  What  instruments  can  produce  the 
former  and  what  the  latter? 

12.  Write  the  first  five  overtones  of  G,  first 
line,  bass  clef. 

13.  What  is  the  purpose  of  the  resonator? 
Describe  the  phenomenon  of  echo. 

Public  School  Music 

Methods  Test.  Set  by  Cornell  University 
(Summer  School  Session). 

1.  Do  you  approve  or  disapprove  of  4-part 
music  in  grammar  grades?     Give  reasons. 

2.  Illustrate  and  name  the  clefs  and  staves  in 
common  use  in  vocal  and  orchestral  scores. 

3.  Of  what  advantages  are  the  Latin  syllables 
in  Sight  Reading?  Would  you  use  these  sylla- 
bles most  of  the  time  in  advanced  sight  reading? 
Give  reasons. 


2o8    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

4.  Outline  a  plan  to  get  efficient  teaching  of 
music  in  the  eight  grades  of  a  system  of  schools 
where  the  teachers  do  not  know  the  subject  matter, 
but  where  the  superintendent  is  in  sympathy 
with  music  and  the  Board  willing  to  supply 
suitable  material. 

5.  Write  out  a  plan  for  the  introduction  and 
mastery  of  the  chromatic  tones.  The  outline 
should  include  typical  material. 

6.  What  material  would  you  use  in  the  upper 
grades  of  a  system  of  schools  when  introducing 
music?     Give  reasons. 

(a)  When  and  how  should  part  singing  be  in- 
troduced? 

(b)  Write  a  few  typical  exercises  to  be  used  in 
preparation  for  2 -part  sight  singing,  and  state 
briefly  the  reasons  for  using  this  and  similar 
material. 

7.  Compare  and  contrast  the  problems  of  the 
teacher  of  music  in  the  Normal  School  with  the 
problems  of  the  Supervisor  of  Music  in  a  city 
system. 

8.  Of  what  should  the  conductor's  preparation 
and  equipment  consist  in  beginning  the  study  of 
the  cantata,  Anderton's  Wreck  of  the  Hesperus, 
for  example? 

9.  How  are  choruses  from  the  Oratorio  and 
Opera  usually  "arranged"  for  use  in  the  high 
school? 

10.  What  agencies  are,  in  your  opinion,  most 


EXAMINATIONS  IN  MUSIC  209 

effective  in  promoting  community  music,  and  in 
correlating  music  in  the  schools  with  music  in 
the  home? 

High  and  Normal  School  Music 

1.  (a)  Name  the  parts  (instrumental)  in  a 
i6-part  orchestration. 

(b)  What  parts  are  included  in  a  lo-part  orches- 
tration ? 

2.  If  the  violin  is  playing  in  E-flat  major, 
what  clarinet  and  comet  would  be  used  and  in 
what  key  would  they  play? 

3.  What  classes  of  voices  would  you  expect 
to  find  in  the  high  school 

4.  Show  the  headings  suitable  for  the  per- 
manent page  record  for  classification  of  voices 
in  the  High  School,  and  record  your  classification 
of  the  several  voices  which  will  be  tried  in  the 
presence  of  the  class. 

5.  A  quarter  note  has  one  beat.  Give  the 
metronome  mark  for  the  three  excerpts  which 
the  examiner  will  play. 

6.  (a)  Give  the  title  and  composer  of  two 
cantatas  suitable  for  mixed  chorus  in  High 
School. 

(b)  Give  title  and  composer  of  two  cantatas 
suitable  for  girls'  chorus  in  High  School. 

7.  Compare  and  contrast  the  problems  of  the 
teacher  of  music  in  the  Normal  School  with  the 

14 


2IO    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

problems  of  the  Supervisor  of  Music  in  a  city 
system. 

8.  Of  what  should  the  conductor's  preparation 
and  equipment  consist  in  beginning  the  study  of 
the  cantata,  Anderton's  Wreck  o]  the  Hesperus, 
for  example? 

9.  (a)  How  are  choruses  from  the  Oratorio 
and  Opera  usually  arranged  for  use  in  the  High 
School? 

(b)  What  is  to  be  said  in  favor  of,  or  against, 
these  arrangements? 

10.  What  agencies  are,  in  your  opinion,  most 
effective  in  promoting  community  music,  and  in 
correlating  music  in  the  schools  with  music  in 
the  home? 

Dictation 

Set  by  the  Regents  of  the  New  York  State 
Education  Department: 

The  candidate  shoidd  he  provided  with  ruled 
music  paper,  and  answers  written  thereon  should 
he  fastened  firmly  to  other  sheets. 

(for  the  examiner  only) 

Before  giving  out  the  non-metric  exercises  the 
examiner  shall  name  the  clef  and  the  key,  direct 
that  only  whole  notes  are  to  be  used,  and  sound 
the  key  tone  on  the  piano.     Repeat  each  exer- 


EXAMINATIONS  IN  MUSIC 


211 


cise    not    more    than    three    times.     No  further 
assistance  or  information  shall  be  given. 


m 


dt3 


$ 


i^^^^E 


^tl^^g^^ 


$ 


^ 


Iig^-^g- 


^ 


^+^5?-'5'- 


*2 


^9^7^^- 


f 


^^^=^^^^ 


-^ — -$< 


:g ^  g^  ^. 


1^^^^ 


Passps^^ 


'*t^^ 


SE^^-=5 


sr 


^ 


-«5'-^S^ S^ 


fe 


r^  ^'  ^ g 


:s: 


Before  giving  out  the  metric  exercises  the  ex- 
aminer shall  name  the  clef  and  the  key,  the  kind 
of  note  that  has  one  beat  (not  giving  the  number 
of  beats  in  a  measure),  sound  the  key  tone,  and 
indicate  clearly  the  tempo  (speed)  by  tapping  or 
counting.     In  so  doing  carefully  avoid  giving  the 


212    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

number  of  beats  in  a  measure  or  locating  the 
accent.  Play  the  entire  melody  clearly  and  dis- 
tinctly, then  repeat  each  section  not  more  than 
three  times.  No  further  assistance  or  information 
shall  be  given. 


g 


1 — fTTTn 


^ — V 


■A— i- 


i 


t 


^ 


SScs 


w^ 


i— n- 


^^ 


i^ 


p^=^ 


^Ll 1 


* ^ — I — P 


^    y  X 


S 


i--^» — •- 


«=^ 


-•-*-^- 


±=t 


»: 


6. 


I 


iTT-r 


s 


s 


^3 


m-^-ft^. 


2^si:A 


^ 


1— ^- 


Pkdagogy  and  Psychology 

A  specially  prepared  paper  for  this  book : 
I.  Distinguish    between    Subjective    and    Ob- 
jective mental  states.     Is  sight-reading  objective 
or    subjective?     Similarly    classify    (a)    playing 
from  memory,  (b)  improvisation. 


EXAMINATIONS  IN  MUSIC  213 

2.  Why  does  the  subconsciousness  increase  as 
we  become  older?  Are  we  fully  conscious  at 
any  one  time  of  our  entire  subjectivity? 

3.  What  mental  faculties  are  active  in  the 
child  who  attempts  to  play  from  notes  for  the 
first  time? 

4.  Define  the  word  attention  {ad  +  teneo). 
What  takes  place  in  the  mind  when  attention 
relaxes?  How  would  you  overcome  a  lack  of 
attention  on  the  part  of  a  pupil? 

5.  Why — in  piano  pla>'ing — is  the  so-called 
"memory  of  the  fingers"  unreliable? 

6.  State  all  the  mental  and  physical  factors  in- 
volved in  sight-reading. 

7.  What  mental  images  are  involved  in  memor- 
izing music? 

8.  What  justifies  the  pedagogic  law  that  teaches 
us  to  proceed  from  the  known  to  the  unknowTi? 

9.  What  mental  process  underlies  establishing 
scale-relation  of  tones  in  musical  dictation? 

10.  What  appHcation  in  music  study  can  we 
make  of  the  law  which  says:  "Everything  tends 
to  weaken  by  disuse"? 

Technic  of  Study 

First  Term  Examination;  set  by  the  Institute 
of  Musical  Art  of  the  City  of  New  York: 

I.  Define  (root-meaning):  Technic,  Leisure, 
Efi&ciency,  Education,  Information. 


214    THE  EDUCATION  OF  THE  MUSIC  TEACHER 

2.  Distinguish  between:  Objective  and  Sub- 
jective; Conscious  and  Subconscious;  Inductive 
and  Deductive. 

3.  Of  the  various  studies  you  have  pursued 
since  childhood,  which  are  of  maximum  utility? 
Which  are  the  most  cultural? 

4.  By  what  practices  may  the  (relative)  mas- 
tery of  English  be  attained?  What  is  your  own 
practice  in  this  matter? 

5.  State  the  essential  factors  in  the  technic 
of  book-reading. 

6.  The  economy  of  a  daily  programme:  Do 
you  attempt  this?     If  so,  outline  your  schedule. 

7.  Write  briefly  on  the  Technic  of  Leisure. 

8.  Write,  similarly,  on  mental,  physical,  and 
environmental  efficiency. 

9-  Distinguish  as  fully  as  you  can  between 
Knowledge  and  Wisdom. 

10.  Cite  any  instance  you  may  know  of  the 
application  of  efficient  ways  and  means  in  the 
conduct  of  a  business. 

Music  Appreciation  I 

Papers  in  Music  Appreciation,  High  School, 
Springfield,  Mass.     Miss  Mary  Regal,  Instructor. 

Written  test  occupying  forty  minutes,  given 
after  six  weeks  of  classroom  work  (eleven  meet- 
ings) : 

I.  Tell  whether  the  chords  played  are  major 
or  minor  (ten  chords). 


EXAMINATIONS  IN  MUSIC  215 

2.  Name  the  three  essentials  of  music  and  ex- 
plain what  is  meant  by  each. 

3.  What  is  the  first  degree  of  a  key  called? 
The  fifth?     The  seventh!^ 

4.  Listen  to  and  write  about  the  composition 
played  (Minuet  from  piano  sonata  Op.  31,  No.  3, 
Beethoven,  heard  for  the  first  time),  telling,  e.  g., 

(a)  Its  character. 

(b)  WTiether  in  a  major  or  minor  key. 

(c)  Its  time  (meter),  peculiarities  of  rhythm. 

(d)  Its  form. 
Additional  remarks. 

5.  Write  in  the  form  of  a  program  the  names 
of  three  or  more  compositions  heard  in  class, 
with  the  names  of  their  composers. 

6.  What  is  a  theme?  By  what  means  does  a 
composer  extend  it  so  as  to  make  a  larger  work? 

Test  occupying  forty  minutes,  given  after  a 
month's  study  of  Lohengrin. 

Music  Apprecl\tion  II 

Second  Semester. 

1.  From  what  kind  of  subjects  did  Wagner 
draw  the  stories  of  his  operas? 

2.  Give  the  story  of  Loliengrtn,  mentioning 
the  most  important  points  and  not  dwelling  upon 
subordinate  details. 

3.  Wliat  is  meant  by  "leading  motives"? 


2l6    THE  EDUCATION  OF  THE  MUSIC  TEACHER 
4.  Name  the  motive  played 


and  tell  some  of  the  uses  made  of  it  in  the  opera. 

5.  Describe  the  Prelude  briefly. 

6.  Name  the  extract  played   (King's  Prayer) 
and  tell  in  what  situation  it  occurs. 

7.  Name  the  extract  played  (Introduction  to 
Act  III). 

Music  Appreciation  Test 

Winona  State  Normal  School.     Miss  Caroline 
V.  Smith,  Instructor. 

1 .  What  effect  did  the  old  dance  forms  and  folk 
songs  have  upon  symphonic  music? 

2.  What  do  you  mean  by  symphonic  music? 

3.  Name   and   describe   as   many   of   the   old 
dance  forms  as  you  can  remember. 

4.  Describe  the  origin  of  the  Suite. 

5.  Describe  the  origin  of  the  Sonata. 

6.  What  is  the  difference  between  a  two-step 
and  an  idealized  dance  form? 

7.  (a)  What  is  a  folk  song? 

(b)  Describe  the  folk  song  form. 

8.  What  effect  did  the  choral  have  upon  the 
music  of  Germany? 

9.  What  effect  did  the  Gregorian  chant  have 
upon  the  music  of  France? 


EXAMINATIONS  IN  MUSIC 


217 


Advanced  Harmony  and  Counterpoint 

Set  by  the  Regents  of  the  New  York  State 
Education  Department: 

Write  at  top  of  first  page  of  answer  paper  (a) 
name  of  school  where  you  have  studied,  (b)  num- 
ber of  weeks  and  periods  a  week  in  advanced 
harmony  and  counterpoint. 

The  minimum  time  requirement  is  four  periods 
a  week  for  a  school  year. 

The  candidate  should  be  prcmded  with  ruled 
music  paper,  and  answers  written  thereon  should 
be  fastened  firmly  to  oilier  sheets. 

Answer  ten  questions. 


Answer  All  Questions  In  This  Group 

I .  Figure  and  name  each  of  the  following  chords ; 
resolve  each  in  two  ways: 


I 


^=^ 


sr 


--¥- 


L^sr 


^ 


32: 


i^H 


22: 


fe^ 


2.  Write,  for  jour  voices  (soprano,  alto,  tenor, 
and  bass),   a  modulation  from  C  major  to  F# 


2i8    THE  EDUCATION  OF  THE  MUSIC  TEACHER 


major,  using  as  few  chords  as  possible,  but  show- 
ing smooth,  clear  progression. 

3.  Harmonize   the   following   for  Jour   voices, 
open  position: 


^^^ 


^san 


3i«t 


m 


giili  JTJ.^^f^ 


■•-— 


4.  Harmonize  the  following  bass  for  Jour  voices, 
close  position: 


5-  tt6 

4-7-  4         6        6         6 

3    2-      43       6    3    435         5      6    5    6    3 


§ 


(^   1       -6> 


.(Z- 


^m 


t=t 


"^ 


■^ 


^ 


tzX 


l=t 


5.  Answer  both  a  and  b: 

(a)  Harmonize   an   original   subject   for   three 
voices,  either  close  or  open  score. 

(b)  What  is  meant  by  transitional  dominants? 
Illustrate  above  the  following  bass: 


^S 


:^z=± 


EXAMINATIONS  IN  JMUSIC 


219 


6.  Harmonize  the  following  bass  for  four 
voices,  using  inversions  or  root  positions  at  dis- 
cretion; at  the  notes  marked  Fr.  6,  It.  6,  Ger.  6 
introduce  the  various  forms  of  the  chord  of  the 
augmented  sixth: 

6 


m^r^ 


^ 


^ 


^t^ 


f 


I  'iT'li 

11.6.  Ger.  6. 


Fr.6. 


Fr.6. 


6 

^*    u 

2    [J5 


W^TTT^- 


is: 


t=t 


±tt=t=t 


r-TT-H 


p.n.     Fr.  6. 


Ger.  6. 


COUNTERPOINT 

Answer  All  Questions  In  This  Group 

7.  Add    a    strict   counterpoint  in  first  species 
above  this  cantus  firmus: 


■^h^ — 1 — 1 — 1 — 1 — 1 — 1 — 1 — 

g)'^^<"^  1 — I^UUI^I^I'^ 

i 


fe 


ST. 


-Z7- 


2  20    THE  EDUCATION  OF  THE  MUSIC  TEACHER 


8.  Add  an  alto  in  florid  style  to  this  cantus,  in 
strict  counterpoint: 


^^j;ijj|iJ|j-4J^ 


:t^ 


I 


:d=d 


^ 


-zy- 


9.  Write  an  original  cantus  firmus  as  a  tenor 
and  add  an  alto  in  four  notes. 

10.  Add  a  part  in  the  fourth  species  above  this 
cantus : 


te^.l-|-hT^^t=^^ 

^ 

APPENDIX 


The  reader  cannot  fail  to  note  the  remark- 
able development  in  all  subjects  of  community 
interest.  A  writer  in  the  Journal  of  Education 
contributes  this  definition  of  the  term: 

"There  is  some  confusion  about  the  real  sig- 
nificance of  the  term  'community  civics.'  The 
significance  of  the  term  does  not  lie  in  its  geo- 
graphical implications,  but  in  its  implication  of 
community  relations,  of  a  community  of  inter- 
ests, of  community  co-operation  through  govern- 
ment. One  may  study  his  own  town  without 
a  touch  of  the  spirit  of  community  civics,  while 
that  spirit  may  be  made  thoroughly  to  infuse 
the  study  of  our  nation  or  state. 

"Participation  by  children  in  real  civic  activi- 
ties is  a  valuable  means  of  civic  training,  but 
its  employment  requires  the  best  of  judgment 
on  the  part  of  those  who  direct  it.  A  child  that 
is  learning  to  walk  must  walk  in  order  to  learn ; 
but  he  should  not  be  expected  to  walk  far  nor 
to  carry  heavy  burdens.  Experiments  in  chil- 
dren's participation  in  civic  affairs  that  thrust 
children  unduly  into  the  public  view,  or  that 
impose  upon  them  responsibilities  that  properly 

221 


222  APPENDIX 

belong  elsewhere,  are  questionable.  The  busi- 
ness of  the  school  is  to  educate  the  child  and 
not  to  exploit  him  for  a  reformation  of  the  com- 
munity which  the  proper  agencies  have  failed 
to  bring  about." 

Mr.  R.  O.  Small,*  writing  in  the  same  maga- 
zine on  the  subject  of  Industrial  Training,  gives 
some  advice  that  is  of  the  utmost  value  to 
teachers  of  music.  He  points  out  that  all  edu- 
cation must  have  for  its  aim  a  practical  partici- 
pation in  life;  that  is,  education  must  enable 
us  to  do  something  to  the  common  benefit.  In  this 
respect  music  has  not  fulfilled  its  mission,  but 
it  will  doubtless  do  so  in  the  future.  It  is  dis- 
tinctly a  community  asset,  and  its  civic  use 
should  be  kept  in  view  from  the  beginning. 
Thus  Mr.  Small's  tabulation  is  valuable  to  the 
music  teacher: 

"i.  Discover  and  develop  the  dominant  inter- 
ests and  power  of  [the  pupil]. 

"2.  Direct  these  interests  and  powers  to  service 
of  the  individual  and  society  to  the  end  that 

"(a)  He  shall  be  able  to  participate  in 
the  more  refined  pleasures  of  life. 

"(5)  He  shall  be  able  to  participate  in 
the  human  affairs — the  activities  in  which 
he  joins  with  his  fellow  men. 

*  Deputy  Commissioner  of  Education,  Massachusetts 
Board  of  Education. 


APPENDIX  223 

"(c)  He  may  be  able  to  gain  self- 
support,  or,  if  that  is  unnecessary,  be 
equipped  to  render  service  to  others." 

Let  music  training  proceed  to  this  end,  and 
its  uncertainty  as  an  educational  subject  will 
give  place  to  a  fixed  purpose  of  great  value. 


30  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

MUSIC  LIBRARY 

This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 

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■ 

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LD21A-I0m-10,'74(S1945L) 

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DATE  DUE 


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